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"title": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison",
"headTitle": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison | KQED",
"content": "\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> performed at Folsom State Prison in Folsom, Calif. The January 1968 concert and live album it produced, \u003ca href=\"https://www.npr.org/sections/monkeysee/2008/12/i_said_i_shot_a_man_in_reno_he.html\" target=\"_blank\" rel=\"noopener\">\u003cem>At Folsom Prison\u003c/em>\u003c/a>\u003cem>,\u003c/em> helped revitalize Cash’s career, inspiring him to testify for prison reform and cementing his reputation as a voice for the downtrodden. Earlier this week, the Mexican norteño band \u003ca href=\"https://www.npr.org/artists/15872025/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte\u003c/a> followed in Cash’s footsteps and became the first major live act to play at Folsom since the rock and roll star’s historic concert five decades ago.\u003c/p>\n\u003cp>The spirit of Johnny Cash is everywhere at the prison-yard gig. Los Tigres and crew walk through the same massive security gates that Cash and his musicians did on that cloudy, winter morning. The musicians’ green room is in the prison’s Greystone Chapel — the same chapel \u003ca href=\"https://www.youtube.com/watch?v=fGMVRoXelNs\" target=\"_blank\" rel=\"noopener\">immortalized in song on Cash’s 1968 album\u003c/a>. But somethings have changed with time. When Cash played his prison show in ’68, the inmate population at Folsom was most white. Today, it’s mostly black and Latino.\u003c/p>\n\u003cp>The magic number of 50 hangs in the air for Los Tigres. It’s been 50 years since Cash’s performance and 50 years since the Mexican band played its first gig in the United States, which, ironically, was also at a prison.\u003c/p>\n\u003cp>“When we came to this country, the first performance that we did was in a prison in Soledad, California,” Jorge Hernández, the band’s vocalist and accordionist, says. “It reminds us it’s a blessing that we can be here at Folsom playing and celebrating our coming to this country, performing in a prison, but also performing now at Folsom Prison.”\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Tigres del Norte have sold over 30 million albums and the band’s fans span generations of Mexicans. The band’s songs like \u003ca href=\"https://www.youtube.com/watch?v=K9rABzUY86w\" target=\"_blank\" rel=\"noopener\">“La Jaula de Oro,”\u003c/a> a lament about struggling to protect one’s undocumented family in the United States, set immigrants’ stories to music. Two years ago, Los Tigres submitted a request to play at Folsom. A few months ago, the band finally got the blessing of the California Department of Corrections and Rehabilitation to have a performance at the prison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When Johnny Cash first came in, it probably wasn’t real popular with the staff or the warden at the time,” Ralph Diaz, the Department’s \u003ca href=\"https://www.cdcr.ca.gov/About_CDCR/Executive_Staff.html\" target=\"_blank\" rel=\"noopener\">Undersecretary of Operations\u003c/a>, says. “But in the end, he wanted to let the population know, ‘There is a voice out there for you. I’m that voice.'”\u003c/p>\n\u003cfigure id=\"attachment_13829934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg\" alt=\"Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel. \u003ccite>(Lance Dawes/Courtesy of Los Tigres Del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diaz, on the other hand, is most definitely a Los Tigres fan. “I grew up listening to Los Tigres at grandma’s kitchen table to the time I got my own stereo,” he says.\u003c/p>\n\u003cp>Manuel Mena is a Los Tigres fan, too. Born in Tijuana, Mexico, Mena says Los Tigres inspired him to start his own band. One night after a show, Mena had an altercation with a fan who threatened him. Mena killed the man. That landed him in Folsom for 36 years to life.\u003c/p>\n\u003cp>“We are the forgotten of society,” Mena says in Spanish. “And to have the privilege of experiencing something like this? Well, it means we haven’t been completely forgotten. It means there’s someone who remembers us, someone who gives us the strength to keep going, the strength to keep moving forward.”\u003c/p>\n\u003cp>About 800 denim-clad men stand in the main prison yard under wispy clouds and a bright blue sky for the performance, as well as the watchful eyes of correctional officers on the ground and in five gun towers surrounding the yard. Many of the men sing along. Others shout out requests. A few more dance alone, seemingly lost in a moment of nostalgia.\u003c/p>\n\u003cp>Before it became famous by way of Cash’s performance, “Greystone Chapel” was written by Glen Sherley, a Folsom inmate serving time for armed robbery. In the same tradition, Los Tigres del Norte invite Mena to play accordion on their norteño rendition of “Folsom Prison Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13829935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg\" alt=\"Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Univision is recording the performance for a documentary. It’s being produced by Grammy- and Oscar-winning musician \u003ca href=\"SelectStoryEditorRouting.action?routingAction=LoadFeature&selEditFeature=603304745#GustavoSantaolalla\" target=\"_blank\" rel=\"noopener\">Gustavo Santaolalla\u003c/a>, who echoes Cash’s belief in the power of music to give inmates a voice.\u003c/p>\n\u003cp>“It’s a way actually of not only entertaining themselves, but also to open their souls, and to open their minds to the possibility of a better world,” Santaolalla says.\u003c/p>\n\u003cp>After the show, band member Luis Hernández stands on the steps of the chapel, reflecting on what just happened.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was just so emotional to see these people here singing our songs and transporting themselves back to maybe how their lives could be, or maybe the mistakes they made,” he says. “It’s impressive, when you come here and sing in front of these people, how you can bring them happiness, and how you can bring them their life back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+Years+After+Johnny+Cash%2C+Los+Tigres+Del+Norte+Perform+At+Folsom+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> performed at Folsom State Prison in Folsom, Calif. The January 1968 concert and live album it produced, \u003ca href=\"https://www.npr.org/sections/monkeysee/2008/12/i_said_i_shot_a_man_in_reno_he.html\" target=\"_blank\" rel=\"noopener\">\u003cem>At Folsom Prison\u003c/em>\u003c/a>\u003cem>,\u003c/em> helped revitalize Cash’s career, inspiring him to testify for prison reform and cementing his reputation as a voice for the downtrodden. Earlier this week, the Mexican norteño band \u003ca href=\"https://www.npr.org/artists/15872025/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte\u003c/a> followed in Cash’s footsteps and became the first major live act to play at Folsom since the rock and roll star’s historic concert five decades ago.\u003c/p>\n\u003cp>The spirit of Johnny Cash is everywhere at the prison-yard gig. Los Tigres and crew walk through the same massive security gates that Cash and his musicians did on that cloudy, winter morning. The musicians’ green room is in the prison’s Greystone Chapel — the same chapel \u003ca href=\"https://www.youtube.com/watch?v=fGMVRoXelNs\" target=\"_blank\" rel=\"noopener\">immortalized in song on Cash’s 1968 album\u003c/a>. But somethings have changed with time. When Cash played his prison show in ’68, the inmate population at Folsom was most white. Today, it’s mostly black and Latino.\u003c/p>\n\u003cp>The magic number of 50 hangs in the air for Los Tigres. It’s been 50 years since Cash’s performance and 50 years since the Mexican band played its first gig in the United States, which, ironically, was also at a prison.\u003c/p>\n\u003cp>“When we came to this country, the first performance that we did was in a prison in Soledad, California,” Jorge Hernández, the band’s vocalist and accordionist, says. “It reminds us it’s a blessing that we can be here at Folsom playing and celebrating our coming to this country, performing in a prison, but also performing now at Folsom Prison.”\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Tigres del Norte have sold over 30 million albums and the band’s fans span generations of Mexicans. The band’s songs like \u003ca href=\"https://www.youtube.com/watch?v=K9rABzUY86w\" target=\"_blank\" rel=\"noopener\">“La Jaula de Oro,”\u003c/a> a lament about struggling to protect one’s undocumented family in the United States, set immigrants’ stories to music. Two years ago, Los Tigres submitted a request to play at Folsom. A few months ago, the band finally got the blessing of the California Department of Corrections and Rehabilitation to have a performance at the prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When Johnny Cash first came in, it probably wasn’t real popular with the staff or the warden at the time,” Ralph Diaz, the Department’s \u003ca href=\"https://www.cdcr.ca.gov/About_CDCR/Executive_Staff.html\" target=\"_blank\" rel=\"noopener\">Undersecretary of Operations\u003c/a>, says. “But in the end, he wanted to let the population know, ‘There is a voice out there for you. I’m that voice.'”\u003c/p>\n\u003cfigure id=\"attachment_13829934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg\" alt=\"Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel. \u003ccite>(Lance Dawes/Courtesy of Los Tigres Del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diaz, on the other hand, is most definitely a Los Tigres fan. “I grew up listening to Los Tigres at grandma’s kitchen table to the time I got my own stereo,” he says.\u003c/p>\n\u003cp>Manuel Mena is a Los Tigres fan, too. Born in Tijuana, Mexico, Mena says Los Tigres inspired him to start his own band. One night after a show, Mena had an altercation with a fan who threatened him. Mena killed the man. That landed him in Folsom for 36 years to life.\u003c/p>\n\u003cp>“We are the forgotten of society,” Mena says in Spanish. “And to have the privilege of experiencing something like this? Well, it means we haven’t been completely forgotten. It means there’s someone who remembers us, someone who gives us the strength to keep going, the strength to keep moving forward.”\u003c/p>\n\u003cp>About 800 denim-clad men stand in the main prison yard under wispy clouds and a bright blue sky for the performance, as well as the watchful eyes of correctional officers on the ground and in five gun towers surrounding the yard. Many of the men sing along. Others shout out requests. A few more dance alone, seemingly lost in a moment of nostalgia.\u003c/p>\n\u003cp>Before it became famous by way of Cash’s performance, “Greystone Chapel” was written by Glen Sherley, a Folsom inmate serving time for armed robbery. In the same tradition, Los Tigres del Norte invite Mena to play accordion on their norteño rendition of “Folsom Prison Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13829935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg\" alt=\"Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Univision is recording the performance for a documentary. It’s being produced by Grammy- and Oscar-winning musician \u003ca href=\"SelectStoryEditorRouting.action?routingAction=LoadFeature&selEditFeature=603304745#GustavoSantaolalla\" target=\"_blank\" rel=\"noopener\">Gustavo Santaolalla\u003c/a>, who echoes Cash’s belief in the power of music to give inmates a voice.\u003c/p>\n\u003cp>“It’s a way actually of not only entertaining themselves, but also to open their souls, and to open their minds to the possibility of a better world,” Santaolalla says.\u003c/p>\n\u003cp>After the show, band member Luis Hernández stands on the steps of the chapel, reflecting on what just happened.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was just so emotional to see these people here singing our songs and transporting themselves back to maybe how their lives could be, or maybe the mistakes they made,” he says. “It’s impressive, when you come here and sing in front of these people, how you can bring them happiness, and how you can bring them their life back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+Years+After+Johnny+Cash%2C+Los+Tigres+Del+Norte+Perform+At+Folsom+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "NPR Newscaster Carl Kasell Dies at 84, After a Lifelong Career On-Air",
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"content": "\u003cp>Every weekday for more than three decades, his baritone steadied our mornings. Even in moments of chaos and crisis, Carl Kasell brought unflappable authority to the news. But behind that hid a lively sense of humor, revealed to listeners late in his career, when he became the beloved judge and official scorekeeper for \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">Wait Wait… Don’t Tell Me!\u003c/a>\u003cem> \u003c/em>NPR’s news quiz show.\u003cem> \u003c/em>\u003c/p>\n\u003cp>Kasell died Tuesday from complications from Alzheimer’s disease in Potomac, Md. He was 84.\u003c/p>\n\u003cp>He started preparing for the role of newscaster as a child. “I sometimes would hide behind the radio and pretend I was on the air,” he said in 2009, remembering his boyhood in Goldsboro, N.C.\u003c/p>\n\u003cp>He also used to play with his grandmother’s windup Victrola and her collection of records. “I would sit there sometimes and play those records, and I’d put in commercials between them,” he recalled. “And I would do a newscast just like the guy on the radio did.”\u003c/p>\n\u003cp>Kasell became a real guy on the radio at age 16, DJ-ing a late-night music show on his local station.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the University of North Carolina, Kasell was, unsurprisingly, one of the very first students to work at its brand-new station, WUNC. After graduation he served in the military. But a job was waiting for him back home at his old station in Goldsboro. He moved to Northern Virginia to spin records but a friend persuaded him to take a job at an all-news station.\u003c/p>\n\u003cp>“I kind of left the records behind,” Kasell said. “It came at a time when so much was happening; we had the Vietnam War, the demonstrations downtown in Washington, the [Martin Luther King] and Bobby Kennedy assassinations. And so it was a great learning period even though [there were] bad times in there.”\u003c/p>\n\u003cp>In 1975, Kasell joined NPR as a part-time employee. Four years later, he announced the news for the first broadcast of a new show called \u003cem>Morning Edition\u003c/em>. Over three decades, he became one of the network’s most recognized voices.\u003c/p>\n\u003cfigure id=\"attachment_13829629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/15_carl_kasell_slide-423f0bd683d34d4fefc04bd9954c5e7141ad14ad-2-800x533.jpg\" alt=\"NPR employees line the hallway of the 'Morning Edition' newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13829629\">\u003cfigcaption class=\"wp-caption-text\">NPR employees line the hallway of the ‘Morning Edition’ newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Edwards,\u003cem> Morning Edition’\u003c/em>s former host, says he relied on Kasell, especially on days such as Sept. 11, when news broke early. “That morning and a thousand others, awful things happened in the morning,” Edwards says.\u003c/p>\n\u003cp>Sure, Edwards was the morning host, but he says Kasell was — in every way — its anchor. “Seven newscasts, every morning … nobody in the business does that,” Edwards said. “That is incredible.”\u003c/p>\n\u003cp>And then came a surprise second act; after decades of being super-serious, Kasell got a chance to let his hair down as the official judge and scorekeeper for \u003cem>Wait Wait… Don’t Tell Me!\u003c/em>\u003c/p>\n\u003cp>Host Peter Sagal says no one could have guessed that Kasell would be so funny. “The greatest thing about Carl was anything we came up with, he was game,” Sagal says. “When we were in Las Vegas, we had him come onstage in a showgirl’s headdress. No matter what we asked him to do — silly voices, or weird stunts; we had him jump out of a cake once to make his entrance onstage — he did it [with] such joy and such dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13829669\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg\" alt=\"Kasell decides to take a publicity photo shoot up a notch while 'Wait Wait... Don't Tell Me!' host Peter Sagal tickles the ivories.\" width=\"775\" height=\"542\" class=\"size-full wp-image-13829669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-520x364.jpg 520w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Kasell decides to take a publicity photo shoot up a notch while ‘Wait Wait… Don’t Tell Me!’ host Peter Sagal tickles the ivories. \u003ccite>(Wait Wait... Don't Tell Me!/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the beginning, \u003cem>Wait Wait \u003c/em>didn’t have a budget for actual prizes, so the “prize” for listeners was to have Kasell record the outgoing message on their answering machines. He ended up recording more than 2,000 messages. (You can hear some favorites below.)\u003c/p>\n\u003cp>Kasell may have been known for his measured, on-air newscast persona, but behind the scenes, the kind, witty newsman had plenty of surprises. He loved magic tricks, and at one memorable company holiday party, he sawed Nina Totenberg in half.\u003c/p>\n\u003cp>“We laid her out on the table, got out that saw and \u003cem>grrrr \u003c/em>… ran it straight through her midsection,” he recalled. “She said it tickled and she got up and walked away in one piece.”\u003c/p>\n\u003cp>In all that he did, Carl Kasell was magic.\u003c/p>\n\u003cfigure id=\"attachment_13829670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg\" alt=\"asell unleashes his powers in the lobby of NPR's headquarters in Washington, D.C.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-13829670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-960x569.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-520x308.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">asell unleashes his powers in the lobby of NPR’s headquarters in Washington, D.C. \u003ccite>(Katie Burk/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story was adapted for the Web by longtime \u003c/em>Wait Wait\u003cem> Web guru Beth Novey. \u003c/em> \u003c/p>\n\u003ch3>Hear Some Of Kasell’s Outgoing Voicemail Messages\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612602\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612606\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612595\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612604\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612609\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Newscaster+Carl+Kasell+Dies+At+84%2C+After+A+Lifelong+Career+On-Air&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every weekday for more than three decades, his baritone steadied our mornings. Even in moments of chaos and crisis, Carl Kasell brought unflappable authority to the news. But behind that hid a lively sense of humor, revealed to listeners late in his career, when he became the beloved judge and official scorekeeper for \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">Wait Wait… Don’t Tell Me!\u003c/a>\u003cem> \u003c/em>NPR’s news quiz show.\u003cem> \u003c/em>\u003c/p>\n\u003cp>Kasell died Tuesday from complications from Alzheimer’s disease in Potomac, Md. He was 84.\u003c/p>\n\u003cp>He started preparing for the role of newscaster as a child. “I sometimes would hide behind the radio and pretend I was on the air,” he said in 2009, remembering his boyhood in Goldsboro, N.C.\u003c/p>\n\u003cp>He also used to play with his grandmother’s windup Victrola and her collection of records. “I would sit there sometimes and play those records, and I’d put in commercials between them,” he recalled. “And I would do a newscast just like the guy on the radio did.”\u003c/p>\n\u003cp>Kasell became a real guy on the radio at age 16, DJ-ing a late-night music show on his local station.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the University of North Carolina, Kasell was, unsurprisingly, one of the very first students to work at its brand-new station, WUNC. After graduation he served in the military. But a job was waiting for him back home at his old station in Goldsboro. He moved to Northern Virginia to spin records but a friend persuaded him to take a job at an all-news station.\u003c/p>\n\u003cp>“I kind of left the records behind,” Kasell said. “It came at a time when so much was happening; we had the Vietnam War, the demonstrations downtown in Washington, the [Martin Luther King] and Bobby Kennedy assassinations. And so it was a great learning period even though [there were] bad times in there.”\u003c/p>\n\u003cp>In 1975, Kasell joined NPR as a part-time employee. Four years later, he announced the news for the first broadcast of a new show called \u003cem>Morning Edition\u003c/em>. Over three decades, he became one of the network’s most recognized voices.\u003c/p>\n\u003cfigure id=\"attachment_13829629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/15_carl_kasell_slide-423f0bd683d34d4fefc04bd9954c5e7141ad14ad-2-800x533.jpg\" alt=\"NPR employees line the hallway of the 'Morning Edition' newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13829629\">\u003cfigcaption class=\"wp-caption-text\">NPR employees line the hallway of the ‘Morning Edition’ newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Edwards,\u003cem> Morning Edition’\u003c/em>s former host, says he relied on Kasell, especially on days such as Sept. 11, when news broke early. “That morning and a thousand others, awful things happened in the morning,” Edwards says.\u003c/p>\n\u003cp>Sure, Edwards was the morning host, but he says Kasell was — in every way — its anchor. “Seven newscasts, every morning … nobody in the business does that,” Edwards said. “That is incredible.”\u003c/p>\n\u003cp>And then came a surprise second act; after decades of being super-serious, Kasell got a chance to let his hair down as the official judge and scorekeeper for \u003cem>Wait Wait… Don’t Tell Me!\u003c/em>\u003c/p>\n\u003cp>Host Peter Sagal says no one could have guessed that Kasell would be so funny. “The greatest thing about Carl was anything we came up with, he was game,” Sagal says. “When we were in Las Vegas, we had him come onstage in a showgirl’s headdress. No matter what we asked him to do — silly voices, or weird stunts; we had him jump out of a cake once to make his entrance onstage — he did it [with] such joy and such dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13829669\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg\" alt=\"Kasell decides to take a publicity photo shoot up a notch while 'Wait Wait... Don't Tell Me!' host Peter Sagal tickles the ivories.\" width=\"775\" height=\"542\" class=\"size-full wp-image-13829669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-520x364.jpg 520w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Kasell decides to take a publicity photo shoot up a notch while ‘Wait Wait… Don’t Tell Me!’ host Peter Sagal tickles the ivories. \u003ccite>(Wait Wait... Don't Tell Me!/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the beginning, \u003cem>Wait Wait \u003c/em>didn’t have a budget for actual prizes, so the “prize” for listeners was to have Kasell record the outgoing message on their answering machines. He ended up recording more than 2,000 messages. (You can hear some favorites below.)\u003c/p>\n\u003cp>Kasell may have been known for his measured, on-air newscast persona, but behind the scenes, the kind, witty newsman had plenty of surprises. He loved magic tricks, and at one memorable company holiday party, he sawed Nina Totenberg in half.\u003c/p>\n\u003cp>“We laid her out on the table, got out that saw and \u003cem>grrrr \u003c/em>… ran it straight through her midsection,” he recalled. “She said it tickled and she got up and walked away in one piece.”\u003c/p>\n\u003cp>In all that he did, Carl Kasell was magic.\u003c/p>\n\u003cfigure id=\"attachment_13829670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg\" alt=\"asell unleashes his powers in the lobby of NPR's headquarters in Washington, D.C.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-13829670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-960x569.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-520x308.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">asell unleashes his powers in the lobby of NPR’s headquarters in Washington, D.C. \u003ccite>(Katie Burk/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story was adapted for the Web by longtime \u003c/em>Wait Wait\u003cem> Web guru Beth Novey. \u003c/em> \u003c/p>\n\u003ch3>Hear Some Of Kasell’s Outgoing Voicemail Messages\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612602\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612606\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612595\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612604\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612609\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Newscaster+Carl+Kasell+Dies+At+84%2C+After+A+Lifelong+Career+On-Air&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Grace Cathedral in San Francisco to Host 'Beyoncé Mass'",
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"content": "\u003cp>To go by public testimony, millions of people across the world already recognize Beyoncé Giselle Knowles-Carter is a goddess incarnate. Now, San Franciscans have a chance to formally worship the reigning queen of pop when Grace Cathedral hosts a \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Beyoncé mass\u003c/a> on Wednesday, Apr. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://sfts.edu/academics/faculty/yolanda-norton/\" target=\"_blank\" rel=\"noopener\">Reverend Yolanda Norton\u003c/a>, a professor at the San Francisco Theological Seminary, will lead the service as part of Grace Cathedral’s the Vine, a series that infuses worship with pop music and progressive messaging.\u003c/p>\n\u003cfigure id=\"attachment_13830150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg\" alt=\"Reverend Yolanda Norton.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Yolanda Norton. \u003ccite>(Photo: Courtesy Yolanda Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norton, who teaches a class called Beyoncé and the Hebrew Bible at the Theological Seminary, says that the mass was already in the works before Beyoncé’s historic Coachella performance, which broke YouTube streaming records as the most-watched festival performance of all time. “Even in class today, there was this great energy about continuing this conversation in the wake of Coachella, and what it means to do this worship service that taps into what I think is the essence of who Beyoncé is and how that relates to black women, how we relate to God, and how we are seen in community,” she says.\u003c/p>\n\u003cp>Norton adds, “In the wake of the \u003cem>Lemonade\u003c/em> album, these questions about how black women find their voice, how they represent the image of god, and how we as black women provide space for liberation — not only of ourselves, but of all people. I think you find that in songs like ‘Freedom’ and ‘Formation.'”\u003c/p>\n\u003cp>Religious services that pay homage to black musical icons are somewhat of a San Francisco tradition: The Saint John Coltrane Church has existed in various incarnations since the jazz legend’s passing in 1967, and the Jimi Hendrix Electric Church Foundation worshiped the rock great in the ’80s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Grace Cathedral, the site of \u003ca href=\"https://www.youtube.com/watch?v=so8kSH8IwIA\" target=\"_blank\" rel=\"noopener\">Martin Luther King, Jr.’s historic 1965 sermon\u003c/a>, is a fitting location of the Beyoncé mass. The focus of Norton’s service will be to “discover how [Beyoncé’s] art opens a window into the lives of the marginalized and forgotten — particularly black females,” according to Grace Cathedral’s website.\u003c/p>\n\u003cfigure id=\"attachment_13829595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829595\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This theme was certainly evident in Beyoncé’s viral Coachella performance this past Saturday, Apr. 14, where she performed an epic two-hour set steeped in centuries of black history, musicology, and culture. Dressed as Queen Nefertiti, then the leader of her own fictional HBCU sorority, Beyoncé commanded a brass band, drum line, and legions of dancers in a comprehensive reinterpretation of her catalog, weaving in homages to “Lift Every Voice and Sing,” also known as the black national anthem; Nigerian Afrobeat pioneer and protest leader Fela Kuti; civil rights-era singer Nina Simone; and New Orleans rapper Juvenile. Throughout her set, she drew a thread through eras of African diasporic art as expressions of joy and resistance, connecting her own discography to a potent legacy.\u003c/p>\n\u003cp>“No other living pop star is as aware of her origin, or of the truth that any origin is porous and multiple,” \u003ca href=\"https://www.newyorker.com/culture/culture-desk/beyonces-triumphant-homecoming-at-coachella\" target=\"_blank\" rel=\"noopener\">wrote critic Doreen St. Felix\u003c/a> in the \u003cem>New Yorker\u003c/em> after the performance.\u003c/p>\n\u003cp>The Apr. 25 sermon at Grace Cathedral is free, at 6:30pm, with seating on a first-come first-serve basis. \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To go by public testimony, millions of people across the world already recognize Beyoncé Giselle Knowles-Carter is a goddess incarnate. Now, San Franciscans have a chance to formally worship the reigning queen of pop when Grace Cathedral hosts a \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Beyoncé mass\u003c/a> on Wednesday, Apr. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://sfts.edu/academics/faculty/yolanda-norton/\" target=\"_blank\" rel=\"noopener\">Reverend Yolanda Norton\u003c/a>, a professor at the San Francisco Theological Seminary, will lead the service as part of Grace Cathedral’s the Vine, a series that infuses worship with pop music and progressive messaging.\u003c/p>\n\u003cfigure id=\"attachment_13830150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg\" alt=\"Reverend Yolanda Norton.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Yolanda Norton. \u003ccite>(Photo: Courtesy Yolanda Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norton, who teaches a class called Beyoncé and the Hebrew Bible at the Theological Seminary, says that the mass was already in the works before Beyoncé’s historic Coachella performance, which broke YouTube streaming records as the most-watched festival performance of all time. “Even in class today, there was this great energy about continuing this conversation in the wake of Coachella, and what it means to do this worship service that taps into what I think is the essence of who Beyoncé is and how that relates to black women, how we relate to God, and how we are seen in community,” she says.\u003c/p>\n\u003cp>Norton adds, “In the wake of the \u003cem>Lemonade\u003c/em> album, these questions about how black women find their voice, how they represent the image of god, and how we as black women provide space for liberation — not only of ourselves, but of all people. I think you find that in songs like ‘Freedom’ and ‘Formation.'”\u003c/p>\n\u003cp>Religious services that pay homage to black musical icons are somewhat of a San Francisco tradition: The Saint John Coltrane Church has existed in various incarnations since the jazz legend’s passing in 1967, and the Jimi Hendrix Electric Church Foundation worshiped the rock great in the ’80s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Grace Cathedral, the site of \u003ca href=\"https://www.youtube.com/watch?v=so8kSH8IwIA\" target=\"_blank\" rel=\"noopener\">Martin Luther King, Jr.’s historic 1965 sermon\u003c/a>, is a fitting location of the Beyoncé mass. The focus of Norton’s service will be to “discover how [Beyoncé’s] art opens a window into the lives of the marginalized and forgotten — particularly black females,” according to Grace Cathedral’s website.\u003c/p>\n\u003cfigure id=\"attachment_13829595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829595\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This theme was certainly evident in Beyoncé’s viral Coachella performance this past Saturday, Apr. 14, where she performed an epic two-hour set steeped in centuries of black history, musicology, and culture. Dressed as Queen Nefertiti, then the leader of her own fictional HBCU sorority, Beyoncé commanded a brass band, drum line, and legions of dancers in a comprehensive reinterpretation of her catalog, weaving in homages to “Lift Every Voice and Sing,” also known as the black national anthem; Nigerian Afrobeat pioneer and protest leader Fela Kuti; civil rights-era singer Nina Simone; and New Orleans rapper Juvenile. Throughout her set, she drew a thread through eras of African diasporic art as expressions of joy and resistance, connecting her own discography to a potent legacy.\u003c/p>\n\u003cp>“No other living pop star is as aware of her origin, or of the truth that any origin is porous and multiple,” \u003ca href=\"https://www.newyorker.com/culture/culture-desk/beyonces-triumphant-homecoming-at-coachella\" target=\"_blank\" rel=\"noopener\">wrote critic Doreen St. Felix\u003c/a> in the \u003cem>New Yorker\u003c/em> after the performance.\u003c/p>\n\u003cp>The Apr. 25 sermon at Grace Cathedral is free, at 6:30pm, with seating on a first-come first-serve basis. \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-hustle-a-snapshot-of-artists-finances-in-the-bay-area",
"title": "The Hustle: A Snapshot of Artists' Money in the Bay Area",
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"headTitle": "The Hustle: A Snapshot of Artists’ Money in the Bay Area | KQED",
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"content": "\u003cp>Despite reports to the contrary, artists are still here in the Bay Area.\u003c/p>\n\u003cp>It’s true that the region is not the haven for cash-strapped dreamers it once was. But despite astronomical rents and dwindling resources, those still hanging on here are finding creative ways to, well, stay creative.\u003c/p>\n\u003cp>Over the past six weeks in a series called ‘\u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">The Hustle\u003c/a>,’ we interviewed six Bay Area artists about balancing their artistic principles with family responsibilities, grueling schedules and the \u003ca href=\"https://www.expatistan.com/cost-of-living/index/north-america\" target=\"_blank\" rel=\"noopener\">highest cost of living\u003c/a> in the continental United States. All of them were very transparent about the money coming in and the money going out.\u003c/p>\n\u003cp>Along the way, we realized that there were more artists whose stories we wanted to tell, and that each person’s story was different.\u003c/p>\n\u003cp>Thus we launched our \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">online artist survey\u003c/a>, asking the same probing financial questions we asked our profiled artists: What’s your living situation? How much money do you make? Do you have any side hustles or freelance gigs? Why do you choose to stay in the Bay Area?\u003c/p>\n\u003cfigure id=\"attachment_13827660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827660\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg\" alt=\"Raphael at home.\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-960x622.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-520x337.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and sex worker Arabelle Raphael at home in the East Bay. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over 60 artists responded to the survey, repping the East Bay, North Bay, South Bay, San Francisco and even Vallejo. Over half were visual artists, while writers, musicians, graphic artists, performance artists and dancers filled out the survey as well. Everyone had advice for other artists trying to make the Bay Area their home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their answers help us understand both the precarious financial situation that many artists in the Bay Area face, but also the resilience and determination so many of them evince.\u003c/p>\n\u003ch2>Living not-so-large\u003c/h2>\n\u003cp>The majority of our survey respondents – 75 percent – live in shared rentals, and only a few are homeowners. Some have carved out resourceful living solutions in the Bay Area housing crunch. Joy Tyler, a writer, lives in a tiny house on wheels for $600 a month in the Laurel District of Oakland. A dancer in southwest Berkeley shares a camper van with one other person for $700 a month. And Sou’Lo, a multi-talented musician who lives rent-free in a friend’s car in Hayward, takes advantage of a life on wheels by running a mobile recording studio, among (many) other side hustles.\u003c/p>\n\u003cp>For many, shared rental situations are the only way to make living in the Bay Area financially feasible. Two of our respondents live in shared houses of eight. One film and installation artist recently moved into an in-law studio with one other person, but only after two years of living with 11 other people.\u003c/p>\n\u003cp>Our respondents’ rents range from zero (a Vallejo home owned outright) to $6,000 a month (a house in the Mission District). Fifty percent of our respondents pay over $1150 a month in rent.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-800x231.png\" alt=\"\" width=\"800\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-800x231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-160x46.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-768x222.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1020x294.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1200x346.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1180x341.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-960x277.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-240x69.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-375x108.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-520x150.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Don’t forget: making art costs money too\u003c/h2>\n\u003cp>On top of home rent, 40 percent of our respondents pay for studio space or time. The median monthly rent for those recording, rehearsal or fabrication spaces is $310 a month. Many respondents have carved studio spaces out of their homes.\u003c/p>\n\u003cp>Visual artist Deb Leal, who lives in the Mission, says, “Living room is the studio, for sure.” Others have claimed garages as their work spaces. Others have transformed their homes into live/work spaces. But for many in shared living situations, there simply isn’t room – and paying for outside space isn’t an option. A musician living with family in Richmond says, simply, “I don’t make enough or have enough money for a studio of my own yet.”\u003c/p>\n\u003cfigure id=\"attachment_13828664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828664\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg\" alt=\"James Jackson and Lilie Hoy had a residency at Zoo Labs in September 2017, which gives them free access to the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yassou had a residency at Zoo Labs in September 2017, which gives the band free access to the studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But studios are only one resource many artists need to make their work. Out of our 60 respondents, only one answered no to the question “Do you have other costs associated with your art?”\u003c/p>\n\u003cp>These costs range from paints to submission fees to marketing to shipping. Each discipline comes with its own expenses. Dancers listed toe tape, dance shoes, body work and hairspray. Musicians cited expenses like violin string, sheet music and instrument maintenance. Theater artists pay for sound, lighting and costume design. Visual artists pay for museum tickets and memberships to local arts organizations.\u003c/p>\n\u003cp>Other costs? “Endless,” says one Oakland musician.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-800x263.png\" alt=\"\" width=\"800\" height=\"263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-800x263.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-160x53.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-768x253.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1020x336.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1200x395.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1180x389.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-960x316.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-240x79.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-375x123.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-520x171.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>How do you pay for it all?\u003c/h2>\n\u003cp>While over 70 percent of our respondents have day jobs (one has nine \u003ci>different\u003c/i> day jobs), these non-art pursuits aren’t necessarily making them financially stable. In San Francisco, the \u003ca href=\"http://sfmohcd.org/sites/default/files/Documents/MOH/Asset%20Management/2018%20AMI-IncomeLimits-HMFA_04-06-18.pdf\" target=\"_blank\" rel=\"noopener\">2018 area median income for one person is $82,900\u003c/a>. Translated into monthly paychecks, that’s just over $6,900 a month.\u003c/p>\n\u003cp>Only two of our respondents make more than the AMI at their day jobs. Then again, not all of them live in San Francisco. But the AMI does show the staggering amount of wealth in the Bay Area right now, which affects everything from apartment rents to coffee prices.\u003c/p>\n\u003cp>Fifty percent of our respondents make less than $2,000 a month in their day jobs. Many of them teach in addition to their art practice, some at as many as three different institutions.\u003c/p>\n\u003ch2>Earnings from art\u003c/h2>\n\u003cp>Despite the inherent costs of producing work, we were surprised by how many of our respondents make a not insignificant amount of money from their art. These are not Sunday painters and dabbling hobbyists. And though there are many signifiers of artistic accomplishment that can never be measured on a tax return, dollar figures will have to suffice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-800x566.png\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-768x543.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1020x721.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1200x849.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1180x835.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-960x679.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-375x265.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-520x368.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On the low end of the spectrum is a musician and photographer from Richmond who makes no money: “I DJ or tour with friends who do shows, but they barely pay me,” he writes. Alternately, a painter in Oakland brings in an estimated $7,000 a month from art, with no day jobs or side gigs.\u003c/p>\n\u003cp>Simply asking to be paid, several artists note, is the first step. “Demand more money from organizations/companies/etc that profit from your work,” writes a visual artist from Oakland who makes $1,000 from art. That idea flows both ways, she adds: “Support other artists, especially monetarily, if you can.”\u003c/p>\n\u003cp>One question we added to our survey (suggested by producer and musician \u003ca href=\"https://www.chhotimaa.com/\">Chhoti Maa\u003c/a>) dealt with race and identity as a factor in being able to get work. Several respondents, especially in theater and dance, saw white men as more likely to get work. Others felt tokenized: “I am a queer/non-binary filmmaker,” one replied, and “when I get recognition in certain circles it is often to fill a bill with women/non-binary filmmakers.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways actress Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cutting corners\u003c/h2>\n\u003cp>Of course, one way artists make it work is by doing with less. Among the tips we received from artists: don‘t eat out, use cheaper materials, don’t own a car, buy used clothes, pack a lunch, print things out at work, use the public library, build your own furniture, bike to work, don’t pamper yourself, don’t go out for drinks, and many others.\u003c/p>\n\u003cp>An Oakland musician says, “I can eat nothing but ramen for days — just throw in various veggies. I generally busk if I need train fare but don’t have funds. Your average liquid soap can work for showers, dishes, and laundry. Glasses last forever if you take care of the lenses — superglue fixes most things (but not instruments). There’s are never too many layers of T-shirts if the one jacket isn’t enough.”\u003c/p>\n\u003cp>A San Mateo-based painter had pointed advice for people and organizations ready to take advantage of your status as a struggling artist. “DO NOT participate in art competitions that ask you for an entry fee,” they write. “Do not hire or pay for marketing advisers or ‘teachers’ who promise to straighten up your art business. They charge too much & are not useful. Instead check out books on this topic from your public library.”\u003c/p>\n\u003ch2>Advice for Others\u003c/h2>\n\u003cp>More than any other piece of advice, “know your worth and demand to be paid” was mentioned by our survey respondents. Beyond that, we found artists generally split into two camps: those who advised to achieve financial stability before making art, and those who advised to work odd jobs that fit an artist’s schedule and don’t compromise creative energy.\u003c/p>\n\u003cp>A mixed media artist in San Francisco says, “Network, Network, Network! Make connections with your fellow artists and the art collectors that have a genuine interest in local artists. Join forces, share your resources, show up for each other. There are many more components to being an artist than just making art. One of the most essential is being recognized as a valuable asset to the community by contributing your talents, camaraderie and support.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mission District-based painter Arika von Edler says, “Live here and show your work at local galleries, but jump at any opportunity to show your work in L.A., New York, Miami, or Europe because that’s where the money is. Being a financially successful SF artist means showing outside the city. Unfortunately the amount of people who support the arts by buying art has decreased significantly in the last couple years, so show in cities where they do.”\u003c/p>\n\u003cp>Other advice was plentiful: share space, don’t give away your work, find alternative housing, get paid under the table, work in the service industry for the flexibility, teach, take advantage of the internet’s diverse market, volunteer at a gallery or art center, don’t be a flake, keep going, never stop, never give up, work jobs that don’t change your ability to make art, be well organized, understand what you’re getting into, research what resources are around you and use them.\u003c/p>\n\u003cp>Some advice was more sobering. “Marry rich, like your grandmother suggested,” wrote a San Francisco photographer. “Get used to eating canned tuna or peanut butter sandwiches.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Dana Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What can be done?\u003c/h2>\n\u003cp>When we undertook ‘The Hustle,’ we did so knowing that more artists had left the Bay Area in a five-year span then ever before. Like janitors, teachers, and waitstaff, artists are important to the day-to-day existence of a city, but are rarely compensated accordingly.\u003c/p>\n\u003cp>We asked what sort of action, by lawmakers or the public, respondents believed could help artists most in the Bay Area, and the responses ranged from the sensible to the radical. Rent control, affordable housing, universal healthcare and special designations for artists were floated as options.\u003c/p>\n\u003cp>One mixed media artist from the Mission says, “Artists should be given a monthly stipend to live and work in San Francisco. If all the creatives are forced to leave, San Francisco will deteriorate (more than it already has) and become a place no one wants to pay for. All the big money will leave for somewhere more interesting, likely wherever the artists went to. San Francisco will lose ALL her magic and ALL the money. If you want to keep the people with money here, you have to keep the artists making the magic! Pay the artists to stay.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. “Rent control is the golden handcuff,” she says. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Several answers posited that artists’ survival is not an issue of policy, but of education. One Oakland musician put it simply: “Educate people on the costs and energy that go into creating art so when they are asked to or made to pay a fair rate for art, they won’t think they’re entitled to it to it.”\u003c/p>\n\u003cp>“Art is generally considered to be a non-fundamental education, and receives not only little funding, but is treated of little importance,” writes Heidi Black, a comic artist and illustrator based in San Jose. “Yet art is everywhere — architecture, design, entertainment — all forms of art! As a culture we need to assign value to art, and that means giving it value in education. Teach kids the importance of paintings like \u003cem>Guernica\u003c/em>, of the resistance art movements in the Soviet Union. Teach them how music can move a culture. Make the arts just as important as sports.”\u003c/p>\n\u003cfigure id=\"attachment_13828287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg\" alt=\"Sasha Kelley, pictured in West Oakland with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sasha Kelley, pictured in West Oakland with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why do you stay?\u003c/h2>\n\u003cp>With costs as high as they are, why do artists stay in the Bay Area? Responses ranged from the practical (“I moved here 20 years ago, how can I start over at 51?”) to what can best be summarized as a nostalgia for a different San Francisco, one more welcoming to the dreamer. Others simply said: It’s home.\u003c/p>\n\u003cp>Some even exercised a bit of vision, like musician Joel Chapman.\u003c/p>\n\u003cp>“I’m staying here because I want to believe in a future of San Francisco art,” he said. “And I want to contribute to that future.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Read all profiles in ‘The Hustle’ \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Thanks to those who participated.\u003c/em>\u003c/p>\n\n",
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"excerpt": "We asked, you responded—read the results of KQED's artists' survey about surviving in the high-cost-of-living Bay Area.",
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"title": "The Hustle: A Snapshot of Artists' Money in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite reports to the contrary, artists are still here in the Bay Area.\u003c/p>\n\u003cp>It’s true that the region is not the haven for cash-strapped dreamers it once was. But despite astronomical rents and dwindling resources, those still hanging on here are finding creative ways to, well, stay creative.\u003c/p>\n\u003cp>Over the past six weeks in a series called ‘\u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">The Hustle\u003c/a>,’ we interviewed six Bay Area artists about balancing their artistic principles with family responsibilities, grueling schedules and the \u003ca href=\"https://www.expatistan.com/cost-of-living/index/north-america\" target=\"_blank\" rel=\"noopener\">highest cost of living\u003c/a> in the continental United States. All of them were very transparent about the money coming in and the money going out.\u003c/p>\n\u003cp>Along the way, we realized that there were more artists whose stories we wanted to tell, and that each person’s story was different.\u003c/p>\n\u003cp>Thus we launched our \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">online artist survey\u003c/a>, asking the same probing financial questions we asked our profiled artists: What’s your living situation? How much money do you make? Do you have any side hustles or freelance gigs? Why do you choose to stay in the Bay Area?\u003c/p>\n\u003cfigure id=\"attachment_13827660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827660\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg\" alt=\"Raphael at home.\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-960x622.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-520x337.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and sex worker Arabelle Raphael at home in the East Bay. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over 60 artists responded to the survey, repping the East Bay, North Bay, South Bay, San Francisco and even Vallejo. Over half were visual artists, while writers, musicians, graphic artists, performance artists and dancers filled out the survey as well. Everyone had advice for other artists trying to make the Bay Area their home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their answers help us understand both the precarious financial situation that many artists in the Bay Area face, but also the resilience and determination so many of them evince.\u003c/p>\n\u003ch2>Living not-so-large\u003c/h2>\n\u003cp>The majority of our survey respondents – 75 percent – live in shared rentals, and only a few are homeowners. Some have carved out resourceful living solutions in the Bay Area housing crunch. Joy Tyler, a writer, lives in a tiny house on wheels for $600 a month in the Laurel District of Oakland. A dancer in southwest Berkeley shares a camper van with one other person for $700 a month. And Sou’Lo, a multi-talented musician who lives rent-free in a friend’s car in Hayward, takes advantage of a life on wheels by running a mobile recording studio, among (many) other side hustles.\u003c/p>\n\u003cp>For many, shared rental situations are the only way to make living in the Bay Area financially feasible. Two of our respondents live in shared houses of eight. One film and installation artist recently moved into an in-law studio with one other person, but only after two years of living with 11 other people.\u003c/p>\n\u003cp>Our respondents’ rents range from zero (a Vallejo home owned outright) to $6,000 a month (a house in the Mission District). Fifty percent of our respondents pay over $1150 a month in rent.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-800x231.png\" alt=\"\" width=\"800\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-800x231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-160x46.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-768x222.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1020x294.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1200x346.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1180x341.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-960x277.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-240x69.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-375x108.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-520x150.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Don’t forget: making art costs money too\u003c/h2>\n\u003cp>On top of home rent, 40 percent of our respondents pay for studio space or time. The median monthly rent for those recording, rehearsal or fabrication spaces is $310 a month. Many respondents have carved studio spaces out of their homes.\u003c/p>\n\u003cp>Visual artist Deb Leal, who lives in the Mission, says, “Living room is the studio, for sure.” Others have claimed garages as their work spaces. Others have transformed their homes into live/work spaces. But for many in shared living situations, there simply isn’t room – and paying for outside space isn’t an option. A musician living with family in Richmond says, simply, “I don’t make enough or have enough money for a studio of my own yet.”\u003c/p>\n\u003cfigure id=\"attachment_13828664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828664\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg\" alt=\"James Jackson and Lilie Hoy had a residency at Zoo Labs in September 2017, which gives them free access to the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yassou had a residency at Zoo Labs in September 2017, which gives the band free access to the studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But studios are only one resource many artists need to make their work. Out of our 60 respondents, only one answered no to the question “Do you have other costs associated with your art?”\u003c/p>\n\u003cp>These costs range from paints to submission fees to marketing to shipping. Each discipline comes with its own expenses. Dancers listed toe tape, dance shoes, body work and hairspray. Musicians cited expenses like violin string, sheet music and instrument maintenance. Theater artists pay for sound, lighting and costume design. Visual artists pay for museum tickets and memberships to local arts organizations.\u003c/p>\n\u003cp>Other costs? “Endless,” says one Oakland musician.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-800x263.png\" alt=\"\" width=\"800\" height=\"263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-800x263.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-160x53.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-768x253.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1020x336.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1200x395.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1180x389.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-960x316.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-240x79.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-375x123.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-520x171.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>How do you pay for it all?\u003c/h2>\n\u003cp>While over 70 percent of our respondents have day jobs (one has nine \u003ci>different\u003c/i> day jobs), these non-art pursuits aren’t necessarily making them financially stable. In San Francisco, the \u003ca href=\"http://sfmohcd.org/sites/default/files/Documents/MOH/Asset%20Management/2018%20AMI-IncomeLimits-HMFA_04-06-18.pdf\" target=\"_blank\" rel=\"noopener\">2018 area median income for one person is $82,900\u003c/a>. Translated into monthly paychecks, that’s just over $6,900 a month.\u003c/p>\n\u003cp>Only two of our respondents make more than the AMI at their day jobs. Then again, not all of them live in San Francisco. But the AMI does show the staggering amount of wealth in the Bay Area right now, which affects everything from apartment rents to coffee prices.\u003c/p>\n\u003cp>Fifty percent of our respondents make less than $2,000 a month in their day jobs. Many of them teach in addition to their art practice, some at as many as three different institutions.\u003c/p>\n\u003ch2>Earnings from art\u003c/h2>\n\u003cp>Despite the inherent costs of producing work, we were surprised by how many of our respondents make a not insignificant amount of money from their art. These are not Sunday painters and dabbling hobbyists. And though there are many signifiers of artistic accomplishment that can never be measured on a tax return, dollar figures will have to suffice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-800x566.png\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-768x543.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1020x721.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1200x849.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1180x835.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-960x679.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-375x265.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-520x368.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On the low end of the spectrum is a musician and photographer from Richmond who makes no money: “I DJ or tour with friends who do shows, but they barely pay me,” he writes. Alternately, a painter in Oakland brings in an estimated $7,000 a month from art, with no day jobs or side gigs.\u003c/p>\n\u003cp>Simply asking to be paid, several artists note, is the first step. “Demand more money from organizations/companies/etc that profit from your work,” writes a visual artist from Oakland who makes $1,000 from art. That idea flows both ways, she adds: “Support other artists, especially monetarily, if you can.”\u003c/p>\n\u003cp>One question we added to our survey (suggested by producer and musician \u003ca href=\"https://www.chhotimaa.com/\">Chhoti Maa\u003c/a>) dealt with race and identity as a factor in being able to get work. Several respondents, especially in theater and dance, saw white men as more likely to get work. Others felt tokenized: “I am a queer/non-binary filmmaker,” one replied, and “when I get recognition in certain circles it is often to fill a bill with women/non-binary filmmakers.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways actress Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cutting corners\u003c/h2>\n\u003cp>Of course, one way artists make it work is by doing with less. Among the tips we received from artists: don‘t eat out, use cheaper materials, don’t own a car, buy used clothes, pack a lunch, print things out at work, use the public library, build your own furniture, bike to work, don’t pamper yourself, don’t go out for drinks, and many others.\u003c/p>\n\u003cp>An Oakland musician says, “I can eat nothing but ramen for days — just throw in various veggies. I generally busk if I need train fare but don’t have funds. Your average liquid soap can work for showers, dishes, and laundry. Glasses last forever if you take care of the lenses — superglue fixes most things (but not instruments). There’s are never too many layers of T-shirts if the one jacket isn’t enough.”\u003c/p>\n\u003cp>A San Mateo-based painter had pointed advice for people and organizations ready to take advantage of your status as a struggling artist. “DO NOT participate in art competitions that ask you for an entry fee,” they write. “Do not hire or pay for marketing advisers or ‘teachers’ who promise to straighten up your art business. They charge too much & are not useful. Instead check out books on this topic from your public library.”\u003c/p>\n\u003ch2>Advice for Others\u003c/h2>\n\u003cp>More than any other piece of advice, “know your worth and demand to be paid” was mentioned by our survey respondents. Beyond that, we found artists generally split into two camps: those who advised to achieve financial stability before making art, and those who advised to work odd jobs that fit an artist’s schedule and don’t compromise creative energy.\u003c/p>\n\u003cp>A mixed media artist in San Francisco says, “Network, Network, Network! Make connections with your fellow artists and the art collectors that have a genuine interest in local artists. Join forces, share your resources, show up for each other. There are many more components to being an artist than just making art. One of the most essential is being recognized as a valuable asset to the community by contributing your talents, camaraderie and support.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mission District-based painter Arika von Edler says, “Live here and show your work at local galleries, but jump at any opportunity to show your work in L.A., New York, Miami, or Europe because that’s where the money is. Being a financially successful SF artist means showing outside the city. Unfortunately the amount of people who support the arts by buying art has decreased significantly in the last couple years, so show in cities where they do.”\u003c/p>\n\u003cp>Other advice was plentiful: share space, don’t give away your work, find alternative housing, get paid under the table, work in the service industry for the flexibility, teach, take advantage of the internet’s diverse market, volunteer at a gallery or art center, don’t be a flake, keep going, never stop, never give up, work jobs that don’t change your ability to make art, be well organized, understand what you’re getting into, research what resources are around you and use them.\u003c/p>\n\u003cp>Some advice was more sobering. “Marry rich, like your grandmother suggested,” wrote a San Francisco photographer. “Get used to eating canned tuna or peanut butter sandwiches.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Dana Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What can be done?\u003c/h2>\n\u003cp>When we undertook ‘The Hustle,’ we did so knowing that more artists had left the Bay Area in a five-year span then ever before. Like janitors, teachers, and waitstaff, artists are important to the day-to-day existence of a city, but are rarely compensated accordingly.\u003c/p>\n\u003cp>We asked what sort of action, by lawmakers or the public, respondents believed could help artists most in the Bay Area, and the responses ranged from the sensible to the radical. Rent control, affordable housing, universal healthcare and special designations for artists were floated as options.\u003c/p>\n\u003cp>One mixed media artist from the Mission says, “Artists should be given a monthly stipend to live and work in San Francisco. If all the creatives are forced to leave, San Francisco will deteriorate (more than it already has) and become a place no one wants to pay for. All the big money will leave for somewhere more interesting, likely wherever the artists went to. San Francisco will lose ALL her magic and ALL the money. If you want to keep the people with money here, you have to keep the artists making the magic! Pay the artists to stay.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. “Rent control is the golden handcuff,” she says. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Several answers posited that artists’ survival is not an issue of policy, but of education. One Oakland musician put it simply: “Educate people on the costs and energy that go into creating art so when they are asked to or made to pay a fair rate for art, they won’t think they’re entitled to it to it.”\u003c/p>\n\u003cp>“Art is generally considered to be a non-fundamental education, and receives not only little funding, but is treated of little importance,” writes Heidi Black, a comic artist and illustrator based in San Jose. “Yet art is everywhere — architecture, design, entertainment — all forms of art! As a culture we need to assign value to art, and that means giving it value in education. Teach kids the importance of paintings like \u003cem>Guernica\u003c/em>, of the resistance art movements in the Soviet Union. Teach them how music can move a culture. Make the arts just as important as sports.”\u003c/p>\n\u003cfigure id=\"attachment_13828287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg\" alt=\"Sasha Kelley, pictured in West Oakland with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sasha Kelley, pictured in West Oakland with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why do you stay?\u003c/h2>\n\u003cp>With costs as high as they are, why do artists stay in the Bay Area? Responses ranged from the practical (“I moved here 20 years ago, how can I start over at 51?”) to what can best be summarized as a nostalgia for a different San Francisco, one more welcoming to the dreamer. Others simply said: It’s home.\u003c/p>\n\u003cp>Some even exercised a bit of vision, like musician Joel Chapman.\u003c/p>\n\u003cp>“I’m staying here because I want to believe in a future of San Francisco art,” he said. “And I want to contribute to that future.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kendrick Lamar, 'Press Democrat' Claim Pulitzers. Here's the Full List of Winners",
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"content": "\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. 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"excerpt": "Lamar joins the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> as this year's prize winners. See the list of winners and watch Monday's announcement ceremony here.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The promoters of the comedy festival Clusterfest on Monday announced new additions to this year’s lineup, including the hip-hop collective the Wu-Tang Clan and rising comedic stars John Mulaney and Thomas Middleditch.\u003c/p>\n\u003cp>[contextly_sidebar id=”FZELfQkiqX5hc9FA9OaSDpaHC7Zsgn8m”]\u003c/p>\n\u003cp>The 2018 Clusterfest lineup of over 70 artists already had massive star power, including the Lonely Island (\u003ca href=\"https://www.kqed.org/arts/13824409/clusterfest-returning-to-sf-will-host-first-concert-from-lonely-island\" rel=\"noopener\" target=\"_blank\">performing live for the first time\u003c/a>), Amy Schumer, Tiffany Haddish, and Jon Stewart, who will be performing for the first time on the west coast in 15 years. But the new additions, announced the week single day tickets go on sale, turn the festival into an embarrassment of riches, and it’s only the event’s second year. \u003c/p>\n\u003cp>A longtime \u003cem>Saturday Night Live\u003c/em> writer who recently hosted the show, Mulaney is the fifth headliner of the festival. He joins the lineup along with Nick Kroll of \u003ci>The Kroll Show\u003c/i>, who recently finished a run on Broadway with Mulaney of their hit show, \u003ci>The Oh, Hello Show.\u003c/i> (There are no official announcements of the two performing together.)\u003c/p>\n\u003cp>Other comic additions include Middleditch, star of the Emmy-nominated HBO comedy \u003ci>Silicon Valley\u003c/i> and one of the original members of the \u003ca href=\"http://www.improvisedshakespeare.com/about/writeup/li/BIO-8/\" rel=\"noopener\" target=\"_blank\">Improvised Shakespeare Company\u003c/a>. He performs at the fest in a new improvisational act with \u003ci>Parks And Recreation\u003c/i> actor Ben Schwartz. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the music side, the lineup now includes the Wu-Tang Clan, the group that introduced the world to influential rappers such as Method Man, Chef Raekwon, Ghostface Killa and the RZA. Also on the bill is Grammy Award-winning rapper T-Pain, best known for his auto-tuned singing style on hits such as Kanye West’s “Good Life” and Lil Wayne’s “Got Money.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clusterfest is presented by Comedy Central, in collaboration with Bonnaroo organizer Superfly and local Outside Lands promoters Another Planet. The festival will be held in San Francisco at Civic Center Plaza and Bill Graham Civic Auditorium from June 1–3. Single-day tickets go on sale Thursday, April 19, at 10am. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The promoters of the comedy festival Clusterfest on Monday announced new additions to this year’s lineup, including the hip-hop collective the Wu-Tang Clan and rising comedic stars John Mulaney and Thomas Middleditch.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The 2018 Clusterfest lineup of over 70 artists already had massive star power, including the Lonely Island (\u003ca href=\"https://www.kqed.org/arts/13824409/clusterfest-returning-to-sf-will-host-first-concert-from-lonely-island\" rel=\"noopener\" target=\"_blank\">performing live for the first time\u003c/a>), Amy Schumer, Tiffany Haddish, and Jon Stewart, who will be performing for the first time on the west coast in 15 years. But the new additions, announced the week single day tickets go on sale, turn the festival into an embarrassment of riches, and it’s only the event’s second year. \u003c/p>\n\u003cp>A longtime \u003cem>Saturday Night Live\u003c/em> writer who recently hosted the show, Mulaney is the fifth headliner of the festival. He joins the lineup along with Nick Kroll of \u003ci>The Kroll Show\u003c/i>, who recently finished a run on Broadway with Mulaney of their hit show, \u003ci>The Oh, Hello Show.\u003c/i> (There are no official announcements of the two performing together.)\u003c/p>\n\u003cp>Other comic additions include Middleditch, star of the Emmy-nominated HBO comedy \u003ci>Silicon Valley\u003c/i> and one of the original members of the \u003ca href=\"http://www.improvisedshakespeare.com/about/writeup/li/BIO-8/\" rel=\"noopener\" target=\"_blank\">Improvised Shakespeare Company\u003c/a>. He performs at the fest in a new improvisational act with \u003ci>Parks And Recreation\u003c/i> actor Ben Schwartz. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the music side, the lineup now includes the Wu-Tang Clan, the group that introduced the world to influential rappers such as Method Man, Chef Raekwon, Ghostface Killa and the RZA. Also on the bill is Grammy Award-winning rapper T-Pain, best known for his auto-tuned singing style on hits such as Kanye West’s “Good Life” and Lil Wayne’s “Got Money.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clusterfest is presented by Comedy Central, in collaboration with Bonnaroo organizer Superfly and local Outside Lands promoters Another Planet. The festival will be held in San Francisco at Civic Center Plaza and Bill Graham Civic Auditorium from June 1–3. Single-day tickets go on sale Thursday, April 19, at 10am. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forman attended the Film Institute at the University of Prague in the 1950s, according to \u003ca href=\"https://www.hollywoodreporter.com/news/milos-forman-dead-cuckoos-nest-amadeus-director-was-86-861207\">The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>He was part of what became known as the “Czechoslovak new wave” of cinema in the 1960s, before Soviets invaded to crush the brief period of liberalization known as the Prague Spring in 1968.\u003c/p>\n\u003cp>Shortly after, Forman moved to the U.S.\u003c/p>\n\u003cp>It was there where he gained accolades for the 1975 film \u003cem>One Flew Over the Cuckoo’s Nest,\u003c/em> starring Jack Nicholson as a criminal in a mental institution. It won five Academy Awards, including best picture and best director for Forman.\u003c/p>\n\u003cp>Forman went on to win more awards as a director with the 1984 film \u003cem>Amadeus,\u003c/em> which told some of the story of famed composer Wolfgang Amadeus Mozart.\u003c/p>\n\u003cp>He was nominated again for the best director Oscar for the 1996 movie \u003cem>The People vs. Larry Flint,\u003c/em> though did not win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of his last films was \u003cem>Goya’s Ghosts\u003c/em> in 2006, which was “an intricate examination of persecution in Spain in the era of religious persecution and Napoleonic conquest,” as the \u003cem>Times\u003c/em> described it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Milos+Forman%2C+%27One+Flew+Over+The+Cuckoo%27s+Nest%27+Director%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forman attended the Film Institute at the University of Prague in the 1950s, according to \u003ca href=\"https://www.hollywoodreporter.com/news/milos-forman-dead-cuckoos-nest-amadeus-director-was-86-861207\">The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>He was part of what became known as the “Czechoslovak new wave” of cinema in the 1960s, before Soviets invaded to crush the brief period of liberalization known as the Prague Spring in 1968.\u003c/p>\n\u003cp>Shortly after, Forman moved to the U.S.\u003c/p>\n\u003cp>It was there where he gained accolades for the 1975 film \u003cem>One Flew Over the Cuckoo’s Nest,\u003c/em> starring Jack Nicholson as a criminal in a mental institution. It won five Academy Awards, including best picture and best director for Forman.\u003c/p>\n\u003cp>Forman went on to win more awards as a director with the 1984 film \u003cem>Amadeus,\u003c/em> which told some of the story of famed composer Wolfgang Amadeus Mozart.\u003c/p>\n\u003cp>He was nominated again for the best director Oscar for the 1996 movie \u003cem>The People vs. Larry Flint,\u003c/em> though did not win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of his last films was \u003cem>Goya’s Ghosts\u003c/em> in 2006, which was “an intricate examination of persecution in Spain in the era of religious persecution and Napoleonic conquest,” as the \u003cem>Times\u003c/em> described it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Milos+Forman%2C+%27One+Flew+Over+The+Cuckoo%27s+Nest%27+Director%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Isamu Noguchi's Playful Side on View at SFO's International Terminal",
"headTitle": "Isamu Noguchi’s Playful Side on View at SFO’s International Terminal | KQED",
"content": "\u003cp>Inside SFO’s International Hall, before you get to security, there’s a visual treat you don’t need a ticket to see: two giant cases displaying \u003ca href=\"https://www.flysfo.com/museum/exhibitions/isamu-noguchi-inside-and-out\" target=\"_blank\" rel=\"noopener\">\u003cem>Isamu Noguchi: Inside and Out\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>You’ve probably seen at least one work by Isamu Noguchi, one of the most famous American sculptors of the 20th century. He made so many sculptures, installed all over the world, like the \u003ca href=\"http://www.noguchi.org/programs/public/offsite/everything-is-sculpture\" target=\"_blank\" rel=\"noopener\">\u003ci>Red Cube\u003c/i>\u003c/a> outside the HSBC Building in Manhattan.\u003c/p>\n\u003cp>But Noguchi did a lot of other stuff, too. He designed The Garden of Peace outside UNESCO headquarters in Paris. He drew up sets for choreographers like Martha Graham, George Balanchine and John Cage.\u003c/p>\n\u003cp>He came up with the classic mid-century \u003ca href=\"http://www.dwr.com/living-accent-coffee-tables/noguchi-table/6115.html\" target=\"_blank\" rel=\"noopener\">coffee table\u003c/a> made for Herman Miller that features a kidney shaped piece of glass sitting on a curvy wood base. \u003cspan class=\"Apple-converted-space\"> Knockoffs of his origami-inspired, collapsible paper lamps called Akari lanterns can be spotted in living rooms across the globe.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13829425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829425\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-375x276.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-520x383.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Akari Floor Lamps, featured alongside the bronze plate sculpture Jack in the Box, circa 1984. \u003ccite>(Photo: Courtesy of SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noguchi loved dichotomy, juxtaposing two seemingly incompatible things together. So it makes sense that the SFO exhibit displays his origami-inspired, collapsible paper lamps — juxtaposed against metal sculptures so thin, it looks like they could fold up just as easily as paper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He meant it to be a joke in a way on the kind of self-seriousness of bronze sculpture,” says Dakin Hart, senior curator of \u003ca href=\"http://www.noguchi.org\" target=\"_blank\" rel=\"noopener\">The Noguchi Museum\u003c/a>. “There’s a lot of nuance and flexibility and fun in these things.”\u003c/p>\n\u003cp>In his notes for this exhibit, Hart wrote that Noguchi used sheet products in large part because they helped bridge the supposed gap between art and design, “which he generally regarded as meaningless.” He points out that Noguchi’s famous Herman Miller coffee table was designed to be collapsible, which among things, made it easy to store and ship.\u003c/p>\n\u003cp>Watch Hart speak at length about Noguchi’s prolific body of work:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=VqdupwDIhCU]\u003cbr>\nLA-born Noguchi did have quite a few connections to California. The steel sculptures at SFO, for instance, Noguchi produced at the artists’ workshop \u003ca href=\"https://www.geminigel.com\" target=\"_blank\" rel=\"noopener\">Gemini G.E.L.\u003c/a> in Los Angeles. He’s quoted saying “These sculptures are like short poems pertaining to California where I was born, and to the world I have known. They were made in 1982 when I had become involved with two large gardens in the Los Angeles area.”\u003c/p>\n\u003cp>The precursor to \u003ca href=\"https://www.sfmoma.org\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> presented the first major exhibition of his work and still houses some of his\u003ca href=\"https://www.sfmoma.org/artist/Isamu_Noguchi\" target=\"_blank\" rel=\"noopener\"> iconic pieces\u003c/a> in its permanent collection.\u003c/p>\n\u003cp>He \u003ca href=\"https://www.nytimes.com/2017/01/19/arts/design/isamu-noguchis-efforts-to-improve-life-in-an-internment-camp.html?_r=0\" target=\"_blank\" rel=\"noopener\">volunteered to be interned in an Arizona concentration camp\u003c/a> during World War II. Noguchi didn’t have to go, based as he was in New York, but he hoped to draw attention to the plight of Japanese-Americans from the West Coast who couldn’t leave the camps, as well as pressure the federal government to humanize these dehumanizing, desolate camps with Noguchi’s designs.\u003c/p>\n\u003cp>Noguchi was a politically and socially engaged citizen, asking throughout his life how to express provocative ideas with his art. “He thought of the world as one giant sculpture,” Hart says, noting Noguchi’s friendship with the thinker and inventor Buckminster Fuller. “They were both interested in the underlying structures of the universe, the natural structures.”\u003c/p>\n\u003cfigure id=\"attachment_13829427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829427\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-375x276.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-520x383.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Atomic Haystack 1982–83, made of hot-dipped galvanized steel, and Akari Table Lamp Model VB13-T, 1986. \u003ccite>(Photo: Courtesy of SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hart, who’s from the Bay Area, figured Noguchi would love the idea of millions of travelers passing by, doing a double take as they encounter something both playful and beautiful, on their way to someplace else. He proposed the exhibition to the \u003ca href=\"https://www.flysfo.com/museum\" target=\"_blank\" rel=\"noopener\">SFO Museum\u003c/a>, the first airport museum in the country to receive accreditation from the American Alliance of Museums.\u003c/p>\n\u003cp>Together, Hart and museum curators selected the objects to highlight and the design team at SFO Museum took it from there.\u003c/p>\n\u003cp>Noguchi was the ultimate global citizen, Hart says: always traveling, especially between Japan, where his father, Yone Noguchi, came from, and the US, where his mother, Léonie Gilmour, came from.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Noguchi I would describe as a permanent voluntary exile. He always said that he never felt at home anywhere, and that made him at home everywhere,” Hart says.\u003c/p>\n\u003cp>\u003cem>Isamu Noguchi: Inside and Out \u003c/em>runs April 14, 2018 – January 06, 2019 in the Main Hall of SFO’s International Terminal. More information \u003ca href=\"https://www.flysfo.com/museum/exhibitions/isamu-noguchi-inside-and-out\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Take a moment on your next international trip through SFO to appreciate the humor of Isamu Noguchi.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside SFO’s International Hall, before you get to security, there’s a visual treat you don’t need a ticket to see: two giant cases displaying \u003ca href=\"https://www.flysfo.com/museum/exhibitions/isamu-noguchi-inside-and-out\" target=\"_blank\" rel=\"noopener\">\u003cem>Isamu Noguchi: Inside and Out\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>You’ve probably seen at least one work by Isamu Noguchi, one of the most famous American sculptors of the 20th century. He made so many sculptures, installed all over the world, like the \u003ca href=\"http://www.noguchi.org/programs/public/offsite/everything-is-sculpture\" target=\"_blank\" rel=\"noopener\">\u003ci>Red Cube\u003c/i>\u003c/a> outside the HSBC Building in Manhattan.\u003c/p>\n\u003cp>But Noguchi did a lot of other stuff, too. He designed The Garden of Peace outside UNESCO headquarters in Paris. He drew up sets for choreographers like Martha Graham, George Balanchine and John Cage.\u003c/p>\n\u003cp>He came up with the classic mid-century \u003ca href=\"http://www.dwr.com/living-accent-coffee-tables/noguchi-table/6115.html\" target=\"_blank\" rel=\"noopener\">coffee table\u003c/a> made for Herman Miller that features a kidney shaped piece of glass sitting on a curvy wood base. \u003cspan class=\"Apple-converted-space\"> Knockoffs of his origami-inspired, collapsible paper lamps called Akari lanterns can be spotted in living rooms across the globe.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13829425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829425\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-375x276.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8-520x383.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/03_JackintheBox_UF4-L10_UF4-L8.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Akari Floor Lamps, featured alongside the bronze plate sculpture Jack in the Box, circa 1984. \u003ccite>(Photo: Courtesy of SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noguchi loved dichotomy, juxtaposing two seemingly incompatible things together. So it makes sense that the SFO exhibit displays his origami-inspired, collapsible paper lamps — juxtaposed against metal sculptures so thin, it looks like they could fold up just as easily as paper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He meant it to be a joke in a way on the kind of self-seriousness of bronze sculpture,” says Dakin Hart, senior curator of \u003ca href=\"http://www.noguchi.org\" target=\"_blank\" rel=\"noopener\">The Noguchi Museum\u003c/a>. “There’s a lot of nuance and flexibility and fun in these things.”\u003c/p>\n\u003cp>In his notes for this exhibit, Hart wrote that Noguchi used sheet products in large part because they helped bridge the supposed gap between art and design, “which he generally regarded as meaningless.” He points out that Noguchi’s famous Herman Miller coffee table was designed to be collapsible, which among things, made it easy to store and ship.\u003c/p>\n\u003cp>Watch Hart speak at length about Noguchi’s prolific body of work:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VqdupwDIhCU'\n title='//www.youtube.com/embed/VqdupwDIhCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nLA-born Noguchi did have quite a few connections to California. The steel sculptures at SFO, for instance, Noguchi produced at the artists’ workshop \u003ca href=\"https://www.geminigel.com\" target=\"_blank\" rel=\"noopener\">Gemini G.E.L.\u003c/a> in Los Angeles. He’s quoted saying “These sculptures are like short poems pertaining to California where I was born, and to the world I have known. They were made in 1982 when I had become involved with two large gardens in the Los Angeles area.”\u003c/p>\n\u003cp>The precursor to \u003ca href=\"https://www.sfmoma.org\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> presented the first major exhibition of his work and still houses some of his\u003ca href=\"https://www.sfmoma.org/artist/Isamu_Noguchi\" target=\"_blank\" rel=\"noopener\"> iconic pieces\u003c/a> in its permanent collection.\u003c/p>\n\u003cp>He \u003ca href=\"https://www.nytimes.com/2017/01/19/arts/design/isamu-noguchis-efforts-to-improve-life-in-an-internment-camp.html?_r=0\" target=\"_blank\" rel=\"noopener\">volunteered to be interned in an Arizona concentration camp\u003c/a> during World War II. Noguchi didn’t have to go, based as he was in New York, but he hoped to draw attention to the plight of Japanese-Americans from the West Coast who couldn’t leave the camps, as well as pressure the federal government to humanize these dehumanizing, desolate camps with Noguchi’s designs.\u003c/p>\n\u003cp>Noguchi was a politically and socially engaged citizen, asking throughout his life how to express provocative ideas with his art. “He thought of the world as one giant sculpture,” Hart says, noting Noguchi’s friendship with the thinker and inventor Buckminster Fuller. “They were both interested in the underlying structures of the universe, the natural structures.”\u003c/p>\n\u003cfigure id=\"attachment_13829427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829427\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-375x276.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T-520x383.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/04_Atomic_Haystack_VB13-T.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Atomic Haystack 1982–83, made of hot-dipped galvanized steel, and Akari Table Lamp Model VB13-T, 1986. \u003ccite>(Photo: Courtesy of SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hart, who’s from the Bay Area, figured Noguchi would love the idea of millions of travelers passing by, doing a double take as they encounter something both playful and beautiful, on their way to someplace else. He proposed the exhibition to the \u003ca href=\"https://www.flysfo.com/museum\" target=\"_blank\" rel=\"noopener\">SFO Museum\u003c/a>, the first airport museum in the country to receive accreditation from the American Alliance of Museums.\u003c/p>\n\u003cp>Together, Hart and museum curators selected the objects to highlight and the design team at SFO Museum took it from there.\u003c/p>\n\u003cp>Noguchi was the ultimate global citizen, Hart says: always traveling, especially between Japan, where his father, Yone Noguchi, came from, and the US, where his mother, Léonie Gilmour, came from.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Noguchi I would describe as a permanent voluntary exile. He always said that he never felt at home anywhere, and that made him at home everywhere,” Hart says.\u003c/p>\n\u003cp>\u003cem>Isamu Noguchi: Inside and Out \u003c/em>runs April 14, 2018 – January 06, 2019 in the Main Hall of SFO’s International Terminal. More information \u003ca href=\"https://www.flysfo.com/museum/exhibitions/isamu-noguchi-inside-and-out\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "on-the-trail-of-the-woman-who-performed-50000-illegal-abortions",
"title": "On the Trail of the Woman who Performed 50,000 Illegal Abortions",
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"headTitle": "On the Trail of the Woman who Performed 50,000 Illegal Abortions | KQED",
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"content": "\u003cp>In a jewel-box mansion in the heart of San Francisco’s Mission District, artifacts tell a fascinating story involving a secret abortion clinic, hidden cash, police raids, Hollywood starlets, and a highly-publicized trial that went to the Supreme Court.\u003c/p>\n\u003cp>Among the relics is a pair of Victorian-era forceps. The slender metal tool, one of close to 20 medical instruments unearthed at the property years ago by people who used to live there, once belonged to Inez Burns.\u003c/p>\n\u003cfigure id=\"attachment_13829072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg\" alt=\"A collection of medical instruments that once belonged to Inez Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of medical instruments that once belonged to Inez Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the first half of the 20th century, Burns was one of California’s most sought-after abortionists. She is said to have terminated around 50,000 pregnancies in San Francisco during her long career using these tools — at a time when doing so could land you in prison.\u003c/p>\n\u003cp>Jeff and Diane Cerf bought Burns’ former home in 1999. They enjoy showing visitors the instruments, as well as the nooks where the abortionist hid her cash.\u003c/p>\n\u003cp>“There’s a part of the wall where the baseboard opens up,” Jeff Cerf says. “So she had a little hiding spot there. But we haven’t found any money.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The couple knows a little about their home’s most infamous inhabitant: that she threw wild parties and made a vast fortune performing up to twenty abortions a day; that her patients included everyone from housewives to celebrities like Olympic skater and film-star Sonja Henie.\u003c/p>\n\u003cp>But they don’t know Burns like \u003ca href=\"https://en.wikipedia.org/wiki/Stephen_G._Bloom\" target=\"_blank\" rel=\"noopener\">Stephen Bloom\u003c/a> does.\u003c/p>\n\u003cfigure id=\"attachment_13829073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829073\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg\" alt=\"Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom is a journalism professor at the University of Iowa and the author of a painstakingly researched new book about the abortionist, \u003ca href=\"https://www.amazon.com/dp/B072MFMG1D/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">\u003cem>The Audacity of Inez Burns\u003c/em>\u003c/a>. Bloom and I are spending the day together visiting some of the sites associated with Burns’ formidable life. “I’ve been in love with Inez for 20 years,” Bloom tells me as we set out from KQED’s headquarters.\u003c/p>\n\u003cp>Burns (birthname, Inez Ingenthron) was born to a poor German immigrant family in 1886 in San Francisco’s then-grimy South of Market neighborhood. Her father was an alcoholic, and her mother, a taskmaster. “Her mother didn’t believe in education,” Bloom says. “She believed that girls and boys needed to work.”\u003c/p>\n\u003cp>So at 17, with good looks but otherwise no real prospects, Burns landed her first job as a manicurist at the barbershop in San Francisco’s luxurious \u003ca href=\"https://www.sfpalace.com/\" target=\"_blank\" rel=\"noopener\">Palace Hotel\u003c/a>.\u003c/p>\n\u003cp>Bloom and I stop in at what used to be the Palace’s barbershop. Today it’s \u003ca href=\"https://flatiron-wines.com/sf_store/\" target=\"_blank\" rel=\"noopener\">Flatiron Wines\u003c/a>, a high-end liquor store. Over a glass of wine, we chat with manager Beau Rapier.\u003c/p>\n\u003cfigure id=\"attachment_13829077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg\" alt=\"Author Stephen Bloom shares details about Inez Burns' story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel's barbershop used to be. It was where Burns' worked as a manicurist.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares details about Inez Burns’ story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel’s barbershop used to be. It was where Burns’ worked as a manicurist. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the turn of the last century, wealthy men liked getting their nails done by pretty young women. The alabaster-skinned, auburn-haired Inez Burns quickly became popular among the clientele.\u003c/p>\n\u003cp>“She buffed and polished the nails of a lot of important people,” Bloom tells Rapier.\u003c/p>\n\u003cp>One such high-roller was Dr. Eugene West. Bloom says West was three times the young manicurist’s age and a notorious ladies’ man. He was also a notorious abortionist. The two started dating and eventually West taught Burns his trade.\u003c/p>\n\u003cp>“Dr. West realized that Inez had the touch and really was able to perform the abortions as well as Dr. West,” Bloom says. “This is how Inez got her beginning as an abortionist.”\u003c/p>\n\u003cp>“So she learned how to do the abortions from the doctor that she was dating?” says Rapier, incredulous.\u003c/p>\n\u003cfigure id=\"attachment_13829087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13829087 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png\" alt=\"Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912.\" width=\"800\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-768x340.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-240x106.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-375x166.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-520x230.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM.png 836w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912. \u003ccite>(Photo: Library of Congress, LC-USZ62-137812)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the pre \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe vs. Wade\u003c/a> era, cities like San Francisco were flush with practitioners of varying degrees of skill and legitimacy. They plied their trade under the table while cops and lawmakers took kickbacks and turned a blind eye. It was a dangerous business, leaving many women injured and sometimes dead.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of women showed up in emergency rooms with failed abortions with injuries as a result of very botched abortions by very inept practitioners,” says Carole Joffe, a professor in the department of obstetrics, gynecology and reproductive sciences at the \u003ca href=\"https://obgyn.ucsf.edu/san-francisco-general-hospital/carole-joffe-phd\" target=\"_blank\" rel=\"noopener\">University of California San Francisco\u003c/a> and an expert on reproductive history.\u003c/span>\u003c/p>\n\u003cp>But Burns was meticulous and scrupulously hygienic. Before long, word got around. In 1927, she set up her own clinic in San Francisco’s Lower Haight neighborhood.\u003c/p>\n\u003cp>Bloom and I visit the apartment building that used to house Burns’ clinic. Bloom says Burns had no shortage of customers willing to pay her hundreds of dollars in cash to get them out of trouble. “It wasn’t unusual for Inez to arrive here and find five or six women in a line waiting for her to arrive in the morning,” Bloom says.\u003c/p>\n\u003cp>The building is a little run down, with narrow corridors and few distinguishing features. Bloom says the place looked very different in Burns’s day. “There were Chippendale chairs,” Bloom says. “There were Persian carpets.”\u003c/p>\n\u003cfigure id=\"attachment_13828984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg\" alt='Edmund G. \"Pat\" Brown, 1939' width=\"800\" height=\"1442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--768x1385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1020x1839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1180x2127.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--960x1731.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--240x433.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--375x676.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--520x937.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown-.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edmund G. “Pat” Brown, 1939 \u003ccite>(Photo: Courtesy of San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom says Burns was in it for the money and rarely provided discounts. The clinic was one of many properties she owned all over California thanks to the millions she made.\u003c/p>\n\u003cp>That fortune bought her friends in high places including politicians and lawmakers. Her longtime, live-in lover was Joe Burns, a former assemblyman. But she couldn’t buy off ambitious district attorney \u003ca href=\"http://governors.library.ca.gov/32-pbrown.html\" target=\"_blank\" rel=\"noopener\">Edmund G. “Pat” Brown\u003c/a>, father of current California governor Jerry Brown.\u003c/p>\n\u003cp>“I did enforce the law, but I tried to enforce it rather selectively in the sense that I didn’t call the press and say ‘I’m going out on a crusade against whores or against abortionists or against gamblers,'” Brown said in an interview for the \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/yearsofgrowthlaw00browrich.pdf\" target=\"_blank\" rel=\"noopener\">Governmental History Documentation Project\u003c/a>. “I just quietly waited for an incident.”\u003c/p>\n\u003cp>That incident happened in 1945. Brown had attempted a couple of unsuccessful raids on Burns’ clinic that year. She had been tipped off and gotten away. But the third time, an undercover cop posing as a patient exposed Burns and she was arrested.\u003c/p>\n\u003cp>“Police confiscated oxygen tanks, instruments, actual beds,” author Stephen Bloom says. “They were all hauled over to the courthouse and were used as exhibits during the trial.”\u003c/p>\n\u003cfigure id=\"attachment_13829076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg\" alt=\"Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But convicting Burns wasn’t easy. In the first two trials, the jury members couldn’t agree on her culpability. “The grand jury met twice and they found nothing wrong with what she was doing, or at least there wasn’t enough evidence to indict her,” Bloom says.\u003c/p>\n\u003cp>But Brown was persistent in his efforts to make\u003cspan style=\"font-weight: 400\"> an example of Burns in his crusade against vice. “\u003c/span>\u003cspan style=\"font-weight: 400\">I took her out of business, yes,” Brown admitted in \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/warrenfellowconst00earlrich.pdf\" target=\"_blank\" rel=\"noopener\">another\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\"> interview. “\u003c/span>\u003cspan style=\"font-weight: 400\">She was also corrupting the police department. We had substantial evidence that she was paying off about $400 a day to the police.”\u003c/span>\u003c/p>\n\u003cp>Burns’ luck finally ran out on Sep. 26, 1946, when she was convicted for performing illegal abortions. At 61, Burns served the first of her two state sentences. There were federal convictions too, for tax evasion. She was in and out of prison several times in her old age.\u003c/p>\n\u003cp>An appeal went all the way to the Supreme Court. But the justices declined to review the conviction.\u003c/p>\n\u003cp>Bloom says Burns ended up paying the U.S. government $800,000 in back taxes (roughly equivalent to $8 million in today’s money.) Burns was left penniless. She passed away in a nursing home a few miles south of San Francisco in 1976. She was 89.\u003c/p>\n\u003cfigure id=\"attachment_13828980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828980\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/INEZ-AT-WEDDING-1976-800x600.jpg\" alt=\"Inez Burns at a family wedding, standing third to left, 1966\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns at a family wedding, standing third to left, 1966\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Brown’s quest against corruption and vice paid off. He was elected California attorney general and then governor, in 1959.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Supreme Court legalized a woman’s right to an abortion in 1973. But Burns wasn’t particularly happy about the way things were heading. “Scores of women will die,” she told a newspaper reporter at the time the Roe vs Wade case was pending at the Supreme Court. “It will be quite a while before physicians who have not been trained for this type of surgery will be able to do it well and safely.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a jewel-box mansion in the heart of San Francisco’s Mission District, artifacts tell a fascinating story involving a secret abortion clinic, hidden cash, police raids, Hollywood starlets, and a highly-publicized trial that went to the Supreme Court.\u003c/p>\n\u003cp>Among the relics is a pair of Victorian-era forceps. The slender metal tool, one of close to 20 medical instruments unearthed at the property years ago by people who used to live there, once belonged to Inez Burns.\u003c/p>\n\u003cfigure id=\"attachment_13829072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg\" alt=\"A collection of medical instruments that once belonged to Inez Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0100.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of medical instruments that once belonged to Inez Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the first half of the 20th century, Burns was one of California’s most sought-after abortionists. She is said to have terminated around 50,000 pregnancies in San Francisco during her long career using these tools — at a time when doing so could land you in prison.\u003c/p>\n\u003cp>Jeff and Diane Cerf bought Burns’ former home in 1999. They enjoy showing visitors the instruments, as well as the nooks where the abortionist hid her cash.\u003c/p>\n\u003cp>“There’s a part of the wall where the baseboard opens up,” Jeff Cerf says. “So she had a little hiding spot there. But we haven’t found any money.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The couple knows a little about their home’s most infamous inhabitant: that she threw wild parties and made a vast fortune performing up to twenty abortions a day; that her patients included everyone from housewives to celebrities like Olympic skater and film-star Sonja Henie.\u003c/p>\n\u003cp>But they don’t know Burns like \u003ca href=\"https://en.wikipedia.org/wiki/Stephen_G._Bloom\" target=\"_blank\" rel=\"noopener\">Stephen Bloom\u003c/a> does.\u003c/p>\n\u003cfigure id=\"attachment_13829073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829073\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg\" alt=\"Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0115.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares his knowledge of Inez Burns with Jeff and Diane Cerf. The Cerfs are the present owners of the mansion that once belonged to Burns. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom is a journalism professor at the University of Iowa and the author of a painstakingly researched new book about the abortionist, \u003ca href=\"https://www.amazon.com/dp/B072MFMG1D/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\">\u003cem>The Audacity of Inez Burns\u003c/em>\u003c/a>. Bloom and I are spending the day together visiting some of the sites associated with Burns’ formidable life. “I’ve been in love with Inez for 20 years,” Bloom tells me as we set out from KQED’s headquarters.\u003c/p>\n\u003cp>Burns (birthname, Inez Ingenthron) was born to a poor German immigrant family in 1886 in San Francisco’s then-grimy South of Market neighborhood. Her father was an alcoholic, and her mother, a taskmaster. “Her mother didn’t believe in education,” Bloom says. “She believed that girls and boys needed to work.”\u003c/p>\n\u003cp>So at 17, with good looks but otherwise no real prospects, Burns landed her first job as a manicurist at the barbershop in San Francisco’s luxurious \u003ca href=\"https://www.sfpalace.com/\" target=\"_blank\" rel=\"noopener\">Palace Hotel\u003c/a>.\u003c/p>\n\u003cp>Bloom and I stop in at what used to be the Palace’s barbershop. Today it’s \u003ca href=\"https://flatiron-wines.com/sf_store/\" target=\"_blank\" rel=\"noopener\">Flatiron Wines\u003c/a>, a high-end liquor store. Over a glass of wine, we chat with manager Beau Rapier.\u003c/p>\n\u003cfigure id=\"attachment_13829077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg\" alt=\"Author Stephen Bloom shares details about Inez Burns' story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel's barbershop used to be. It was where Burns' worked as a manicurist.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0096.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom shares details about Inez Burns’ story with Beau Rapier, the manager of Flatiron Wines. The liquor store now stands on the site where the Palace Hotel’s barbershop used to be. It was where Burns’ worked as a manicurist. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the turn of the last century, wealthy men liked getting their nails done by pretty young women. The alabaster-skinned, auburn-haired Inez Burns quickly became popular among the clientele.\u003c/p>\n\u003cp>“She buffed and polished the nails of a lot of important people,” Bloom tells Rapier.\u003c/p>\n\u003cp>One such high-roller was Dr. Eugene West. Bloom says West was three times the young manicurist’s age and a notorious ladies’ man. He was also a notorious abortionist. The two started dating and eventually West taught Burns his trade.\u003c/p>\n\u003cp>“Dr. West realized that Inez had the touch and really was able to perform the abortions as well as Dr. West,” Bloom says. “This is how Inez got her beginning as an abortionist.”\u003c/p>\n\u003cp>“So she learned how to do the abortions from the doctor that she was dating?” says Rapier, incredulous.\u003c/p>\n\u003cfigure id=\"attachment_13829087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13829087 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png\" alt=\"Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912.\" width=\"800\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-800x354.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-768x340.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-240x106.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-375x166.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM-520x230.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2017-11-29-at-8.00.06-PM.png 836w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns launched her career in the early years of the 20th century. Many prospective customers would find their way to her when they landed in San Francisco at the Ferry Building. This image dates from Sep., 1912. \u003ccite>(Photo: Library of Congress, LC-USZ62-137812)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the pre \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe vs. Wade\u003c/a> era, cities like San Francisco were flush with practitioners of varying degrees of skill and legitimacy. They plied their trade under the table while cops and lawmakers took kickbacks and turned a blind eye. It was a dangerous business, leaving many women injured and sometimes dead.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of women showed up in emergency rooms with failed abortions with injuries as a result of very botched abortions by very inept practitioners,” says Carole Joffe, a professor in the department of obstetrics, gynecology and reproductive sciences at the \u003ca href=\"https://obgyn.ucsf.edu/san-francisco-general-hospital/carole-joffe-phd\" target=\"_blank\" rel=\"noopener\">University of California San Francisco\u003c/a> and an expert on reproductive history.\u003c/span>\u003c/p>\n\u003cp>But Burns was meticulous and scrupulously hygienic. Before long, word got around. In 1927, she set up her own clinic in San Francisco’s Lower Haight neighborhood.\u003c/p>\n\u003cp>Bloom and I visit the apartment building that used to house Burns’ clinic. Bloom says Burns had no shortage of customers willing to pay her hundreds of dollars in cash to get them out of trouble. “It wasn’t unusual for Inez to arrive here and find five or six women in a line waiting for her to arrive in the morning,” Bloom says.\u003c/p>\n\u003cp>The building is a little run down, with narrow corridors and few distinguishing features. Bloom says the place looked very different in Burns’s day. “There were Chippendale chairs,” Bloom says. “There were Persian carpets.”\u003c/p>\n\u003cfigure id=\"attachment_13828984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg\" alt='Edmund G. \"Pat\" Brown, 1939' width=\"800\" height=\"1442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--800x1442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--768x1385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1020x1839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--1180x2127.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--960x1731.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--240x433.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--375x676.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown--520x937.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Pat-Brown-.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edmund G. “Pat” Brown, 1939 \u003ccite>(Photo: Courtesy of San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bloom says Burns was in it for the money and rarely provided discounts. The clinic was one of many properties she owned all over California thanks to the millions she made.\u003c/p>\n\u003cp>That fortune bought her friends in high places including politicians and lawmakers. Her longtime, live-in lover was Joe Burns, a former assemblyman. But she couldn’t buy off ambitious district attorney \u003ca href=\"http://governors.library.ca.gov/32-pbrown.html\" target=\"_blank\" rel=\"noopener\">Edmund G. “Pat” Brown\u003c/a>, father of current California governor Jerry Brown.\u003c/p>\n\u003cp>“I did enforce the law, but I tried to enforce it rather selectively in the sense that I didn’t call the press and say ‘I’m going out on a crusade against whores or against abortionists or against gamblers,'” Brown said in an interview for the \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/yearsofgrowthlaw00browrich.pdf\" target=\"_blank\" rel=\"noopener\">Governmental History Documentation Project\u003c/a>. “I just quietly waited for an incident.”\u003c/p>\n\u003cp>That incident happened in 1945. Brown had attempted a couple of unsuccessful raids on Burns’ clinic that year. She had been tipped off and gotten away. But the third time, an undercover cop posing as a patient exposed Burns and she was arrested.\u003c/p>\n\u003cp>“Police confiscated oxygen tanks, instruments, actual beds,” author Stephen Bloom says. “They were all hauled over to the courthouse and were used as exhibits during the trial.”\u003c/p>\n\u003cfigure id=\"attachment_13829076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg\" alt=\"Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG-0078.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Stephen Bloom standing in the federal courthouse in San Francisco. Burns was tried there for tax evasion. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But convicting Burns wasn’t easy. In the first two trials, the jury members couldn’t agree on her culpability. “The grand jury met twice and they found nothing wrong with what she was doing, or at least there wasn’t enough evidence to indict her,” Bloom says.\u003c/p>\n\u003cp>But Brown was persistent in his efforts to make\u003cspan style=\"font-weight: 400\"> an example of Burns in his crusade against vice. “\u003c/span>\u003cspan style=\"font-weight: 400\">I took her out of business, yes,” Brown admitted in \u003ca href=\"http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/warrenfellowconst00earlrich.pdf\" target=\"_blank\" rel=\"noopener\">another\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\"> interview. “\u003c/span>\u003cspan style=\"font-weight: 400\">She was also corrupting the police department. We had substantial evidence that she was paying off about $400 a day to the police.”\u003c/span>\u003c/p>\n\u003cp>Burns’ luck finally ran out on Sep. 26, 1946, when she was convicted for performing illegal abortions. At 61, Burns served the first of her two state sentences. There were federal convictions too, for tax evasion. She was in and out of prison several times in her old age.\u003c/p>\n\u003cp>An appeal went all the way to the Supreme Court. But the justices declined to review the conviction.\u003c/p>\n\u003cp>Bloom says Burns ended up paying the U.S. government $800,000 in back taxes (roughly equivalent to $8 million in today’s money.) Burns was left penniless. She passed away in a nursing home a few miles south of San Francisco in 1976. She was 89.\u003c/p>\n\u003cfigure id=\"attachment_13828980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828980\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/INEZ-AT-WEDDING-1976-800x600.jpg\" alt=\"Inez Burns at a family wedding, standing third to left, 1966\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Inez Burns at a family wedding, standing third to left, 1966\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Brown’s quest against corruption and vice paid off. He was elected California attorney general and then governor, in 1959.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Supreme Court legalized a woman’s right to an abortion in 1973. But Burns wasn’t particularly happy about the way things were heading. “Scores of women will die,” she told a newspaper reporter at the time the Roe vs Wade case was pending at the Supreme Court. “It will be quite a while before physicians who have not been trained for this type of surgery will be able to do it well and safely.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Huey Lewis and the News have cancelled all their upcoming concerts, including their appearance at this year’s Outside Lands festival in San Francisco. The reason, Lewis says, is the loss much of his hearing earlier this year.\u003c/p>\n\u003cp>Lewis, 67, announced \u003ca href=\"https://www.facebook.com/hueylewisandthenews/posts/1871258712884546\" rel=\"noopener\" target=\"_blank\">on Facebook\u003c/a> Friday morning that the hearing loss struck him over two months ago, just before a show in Dallas. \u003c/p>\n\u003cp>“Although I can still hear a little, one on one, and on the phone, I can’t hear music well enough to sing,” Lewis wrote. “The lower frequencies distort violently making it impossible to find pitch.”\u003c/p>\n\u003cp>According to the post, Lewis visited hearing specialists at the House Ear Institute and the Stanford Ear Institute, who believe Lewis suffers from \u003ca href=\"http://www.entnet.org/content/menieres-disease\" rel=\"noopener\" target=\"_blank\">Ménière’s disease\u003c/a>, a chronic condition that can also cause vertigo. He’s been advised to stop performing altogether until his condition improves. According to \u003ca href=\"https://www.mayoclinic.org/diseases-conditions/menieres-disease/symptoms-causes/syc-20374910\" rel=\"noopener\" target=\"_blank\">the Mayo Clinic\u003c/a>, while the hearing loss is typically intermittent initially, it can become permanent. \u003c/p>\n\u003cp>This year was supposed to the year that Huey Lewis and the News had their comeback. The band, who ruled ’80s radio with hits like “I Want A New Drug” and “If This Is It,” announced in February that a jukebox musical inspired by their music \u003ca href=\"https://www.kqed.org/arts/13824047/musical-inspired-by-huey-lewis-the-news-in-the-works\" rel=\"noopener\" target=\"_blank\">was in the works\u003c/a>. The band booked several concerts \u003ca href=\"https://www.songkick.com/artists/363648-huey-lewis-and-the-news/calendar\" rel=\"noopener\" target=\"_blank\">for this summer,\u003c/a> including a headlining slot at this year’s Outside Lands, and even planned to release \u003ca href=\"http://www.chicagotribune.com/suburbs/lake-county-news-sun/lifestyles/ct-lns-huey-lewis-st-0908-20170823-story.html\" rel=\"noopener\" target=\"_blank\">a new album.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite his troubles, Lewis says he’s not going down without a fight. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Needless to say, I feel horrible about this, and wish to sincerely apologize to all the fans who’ve already bought tickets and were planning to come see us. I’m going to concentrate on getting better, and hope that one day soon I’ll be able to perform again,” Lewis wrote.\u003c/p>\n\n",
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"excerpt": "This year was supposed to be a comeback year for the group, as they had a nationwide tour planned to help promote a musical inspired by their music.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Huey Lewis and the News have cancelled all their upcoming concerts, including their appearance at this year’s Outside Lands festival in San Francisco. The reason, Lewis says, is the loss much of his hearing earlier this year.\u003c/p>\n\u003cp>Lewis, 67, announced \u003ca href=\"https://www.facebook.com/hueylewisandthenews/posts/1871258712884546\" rel=\"noopener\" target=\"_blank\">on Facebook\u003c/a> Friday morning that the hearing loss struck him over two months ago, just before a show in Dallas. \u003c/p>\n\u003cp>“Although I can still hear a little, one on one, and on the phone, I can’t hear music well enough to sing,” Lewis wrote. “The lower frequencies distort violently making it impossible to find pitch.”\u003c/p>\n\u003cp>According to the post, Lewis visited hearing specialists at the House Ear Institute and the Stanford Ear Institute, who believe Lewis suffers from \u003ca href=\"http://www.entnet.org/content/menieres-disease\" rel=\"noopener\" target=\"_blank\">Ménière’s disease\u003c/a>, a chronic condition that can also cause vertigo. He’s been advised to stop performing altogether until his condition improves. According to \u003ca href=\"https://www.mayoclinic.org/diseases-conditions/menieres-disease/symptoms-causes/syc-20374910\" rel=\"noopener\" target=\"_blank\">the Mayo Clinic\u003c/a>, while the hearing loss is typically intermittent initially, it can become permanent. \u003c/p>\n\u003cp>This year was supposed to the year that Huey Lewis and the News had their comeback. The band, who ruled ’80s radio with hits like “I Want A New Drug” and “If This Is It,” announced in February that a jukebox musical inspired by their music \u003ca href=\"https://www.kqed.org/arts/13824047/musical-inspired-by-huey-lewis-the-news-in-the-works\" rel=\"noopener\" target=\"_blank\">was in the works\u003c/a>. The band booked several concerts \u003ca href=\"https://www.songkick.com/artists/363648-huey-lewis-and-the-news/calendar\" rel=\"noopener\" target=\"_blank\">for this summer,\u003c/a> including a headlining slot at this year’s Outside Lands, and even planned to release \u003ca href=\"http://www.chicagotribune.com/suburbs/lake-county-news-sun/lifestyles/ct-lns-huey-lewis-st-0908-20170823-story.html\" rel=\"noopener\" target=\"_blank\">a new album.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite his troubles, Lewis says he’s not going down without a fight. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Needless to say, I feel horrible about this, and wish to sincerely apologize to all the fans who’ve already bought tickets and were planning to come see us. I’m going to concentrate on getting better, and hope that one day soon I’ll be able to perform again,” Lewis wrote.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-hustle-how-many-jobs-does-a-musician-have-to-work-to-stay-in-san-francisco",
"title": "How Many Jobs Does a Musician Need To Stay in San Francisco?",
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"content": "\u003cp>Theo Alvarez says he gets six hours sleep a night. But it’s hard to imagine how he even sleeps at all.\u003c/p>\n\u003cfigure id=\"attachment_13829262\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg\" alt=\"By the numbers\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his creative pursuits as \u003ca href=\"https://about.me/jibril.alvarez\" target=\"_blank\" rel=\"noopener\">a jazz pianist, music producer, bandleader, photographer and multimedia performance artist\u003c/a>, the 29-year-old San Franciscan works as a facility manager and docent at the \u003ca href=\"https://manilatown.org/\" target=\"_blank\" rel=\"noopener\">I-Hotel Manilatown Center\u003c/a> (a historical landmark and community activism hub in North Beach), does freelance graphic and web design, drives for Uber and Lyft, and recently launched an organic fruit delivery business.\u003c/p>\n\u003cp>“I sleep when the fruit runs out,” he says. \u003c/p>\n\u003cp>Alvarez eats a raw vegan diet, so his new business enables him to eat mostly for free. “I buy in bulk, and then I sell it to make the money back, and then still have some left over to sustain me,” he says, adding that he spends up to $300 a week on produce.\u003c/p>\n\u003cfigure id=\"attachment_13829270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg\" alt=\"Theo Alvarez at the I-Hotel Manilatown Center, where he teaches.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez at the I-Hotel Manilatown Center, where he works as a facility manager and docent. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Alvarez’s exceedingly healthy, low-cost diet, making ends meet in order to continue to live in his hometown is an exhausting, ongoing challenge. “I’ve definitely forgotten to take time out, running around trying to do this and trying to do that,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, Alvarez says he earned around $45,000. Most of his earnings came from driving people around the city for Uber and Lyft, so his car-related expenses are, unsurprisingly, steep. He finances his 2015 Subaru at $700 a month. Then there’s $200 in car insurance and at least $150 in gas. As for housing, he pays $1,700 in monthly rent, plus $100 in renter’s insurance.\u003c/p>\n\u003ch2>A place to call home\u003c/h2>\n\u003cp>Finding affordable housing was, until recently, Alvarez’s biggest challenge. The combination of the stratospheric Bay Area rental market, the piecemeal nature of his work, and a low credit score made it hard for Alvarez to sign a lease on an apartment. For years, he floated between month-to-month roommate situations in the East Bay, the North Bay and San Francisco. “There were times in between renting different places where I was forced to rely on the kindness of family and friends,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13829269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg\" alt=\"Theo Alvarez on revolving loans: 'Over time, it just eats away at your income.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez on revolving loans: ‘Over time, it just eats away at your income.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alvarez’s financial stability took a turn for the worse when he got into a cycle of taking out short term micro-loans to cover his costs. “That’s why it’s called a revolving loan, because people take the loan out and then they pay it back and take it out again,” he explains. “Over time, it just eats away at your income. I would highly advise against it.”\u003c/p>\n\u003cp>Happily, Alvarez was recently able to get on top of his finances after some coaching from the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a>, a non-profit, low-income advocacy organization based in the Mission. He cleared up his credit score and was able to sign a one-year lease on a live-work studio in downtown San Francisco, just blocks away from his job at the I-Hotel Manilatown Center.\u003c/p>\n\u003cp>Alvarez says having his own digs is a game-changer. “In all my experience of struggling to do what I do, I can say without a doubt that in order to develop and produce art, space is an extremely crucial element,” he says. “A safe, physical place for the artist’s vision to take shape, and a space where it can be shared with and enjoyed by others.”\u003c/p>\n\u003cfigure id=\"attachment_13828869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg\" alt=\"Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Defying ‘starving artist’ syndrome\u003c/h2>\n\u003cp>Down the line, Alvarez says he’d like to one day buy his own home and raise a family. But for now, he’s focused on growing his fruit business and trying to get more lucrative media and design gigs, perhaps in the tech industry. Though he enjoys driving, he’d like to do it less. “I feel like my time and talents could definitely be put in other areas,” Alvarez says.\u003c/p>\n\u003cp>And while life has been tough on some fronts, Alvarez is committed to staying in the Bay Area.\u003c/p>\n\u003cp>For one thing, he’s proud of his local roots as a first-generation, American-born Filipino who earned his education at \u003ca href=\"http://www.sfsu.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco State University\u003c/a> and \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a>. “English is my native language,” he says. “But I also speak and study Tagalog, Spanish, Japanese and Chinese due to growing up in the multi-ethnic environment that is San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another, Alvarez doesn’t see his future in San Francisco as that of the stereotypical “starving artist.” In recent years, he says he’s met people who are able to sustain successful artistic careers in the city, which has given him hope.\u003c/p>\n\u003cp>“I think the biggest shock is discovering that you can make it as an artist in the Bay Area,” he says. “I’ve met artists who have gone through the wringer, and they were able to get into a situation where they are living comfortably. I realized this is definitely possible. It’s doable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theo Alvarez says he gets six hours sleep a night. But it’s hard to imagine how he even sleeps at all.\u003c/p>\n\u003cfigure id=\"attachment_13829262\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg\" alt=\"By the numbers\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his creative pursuits as \u003ca href=\"https://about.me/jibril.alvarez\" target=\"_blank\" rel=\"noopener\">a jazz pianist, music producer, bandleader, photographer and multimedia performance artist\u003c/a>, the 29-year-old San Franciscan works as a facility manager and docent at the \u003ca href=\"https://manilatown.org/\" target=\"_blank\" rel=\"noopener\">I-Hotel Manilatown Center\u003c/a> (a historical landmark and community activism hub in North Beach), does freelance graphic and web design, drives for Uber and Lyft, and recently launched an organic fruit delivery business.\u003c/p>\n\u003cp>“I sleep when the fruit runs out,” he says. \u003c/p>\n\u003cp>Alvarez eats a raw vegan diet, so his new business enables him to eat mostly for free. “I buy in bulk, and then I sell it to make the money back, and then still have some left over to sustain me,” he says, adding that he spends up to $300 a week on produce.\u003c/p>\n\u003cfigure id=\"attachment_13829270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg\" alt=\"Theo Alvarez at the I-Hotel Manilatown Center, where he teaches.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez at the I-Hotel Manilatown Center, where he works as a facility manager and docent. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Alvarez’s exceedingly healthy, low-cost diet, making ends meet in order to continue to live in his hometown is an exhausting, ongoing challenge. “I’ve definitely forgotten to take time out, running around trying to do this and trying to do that,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, Alvarez says he earned around $45,000. Most of his earnings came from driving people around the city for Uber and Lyft, so his car-related expenses are, unsurprisingly, steep. He finances his 2015 Subaru at $700 a month. Then there’s $200 in car insurance and at least $150 in gas. As for housing, he pays $1,700 in monthly rent, plus $100 in renter’s insurance.\u003c/p>\n\u003ch2>A place to call home\u003c/h2>\n\u003cp>Finding affordable housing was, until recently, Alvarez’s biggest challenge. The combination of the stratospheric Bay Area rental market, the piecemeal nature of his work, and a low credit score made it hard for Alvarez to sign a lease on an apartment. For years, he floated between month-to-month roommate situations in the East Bay, the North Bay and San Francisco. “There were times in between renting different places where I was forced to rely on the kindness of family and friends,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13829269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg\" alt=\"Theo Alvarez on revolving loans: 'Over time, it just eats away at your income.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez on revolving loans: ‘Over time, it just eats away at your income.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alvarez’s financial stability took a turn for the worse when he got into a cycle of taking out short term micro-loans to cover his costs. “That’s why it’s called a revolving loan, because people take the loan out and then they pay it back and take it out again,” he explains. “Over time, it just eats away at your income. I would highly advise against it.”\u003c/p>\n\u003cp>Happily, Alvarez was recently able to get on top of his finances after some coaching from the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a>, a non-profit, low-income advocacy organization based in the Mission. He cleared up his credit score and was able to sign a one-year lease on a live-work studio in downtown San Francisco, just blocks away from his job at the I-Hotel Manilatown Center.\u003c/p>\n\u003cp>Alvarez says having his own digs is a game-changer. “In all my experience of struggling to do what I do, I can say without a doubt that in order to develop and produce art, space is an extremely crucial element,” he says. “A safe, physical place for the artist’s vision to take shape, and a space where it can be shared with and enjoyed by others.”\u003c/p>\n\u003cfigure id=\"attachment_13828869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg\" alt=\"Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Defying ‘starving artist’ syndrome\u003c/h2>\n\u003cp>Down the line, Alvarez says he’d like to one day buy his own home and raise a family. But for now, he’s focused on growing his fruit business and trying to get more lucrative media and design gigs, perhaps in the tech industry. Though he enjoys driving, he’d like to do it less. “I feel like my time and talents could definitely be put in other areas,” Alvarez says.\u003c/p>\n\u003cp>And while life has been tough on some fronts, Alvarez is committed to staying in the Bay Area.\u003c/p>\n\u003cp>For one thing, he’s proud of his local roots as a first-generation, American-born Filipino who earned his education at \u003ca href=\"http://www.sfsu.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco State University\u003c/a> and \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a>. “English is my native language,” he says. “But I also speak and study Tagalog, Spanish, Japanese and Chinese due to growing up in the multi-ethnic environment that is San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another, Alvarez doesn’t see his future in San Francisco as that of the stereotypical “starving artist.” In recent years, he says he’s met people who are able to sustain successful artistic careers in the city, which has given him hope.\u003c/p>\n\u003cp>“I think the biggest shock is discovering that you can make it as an artist in the Bay Area,” he says. “I’ve met artists who have gone through the wringer, and they were able to get into a situation where they are living comfortably. I realized this is definitely possible. It’s doable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
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